YAMAHA
AUTHORIZED
PRODUCT MANUAL
Professional Multi-effect Processor
YAMAHA
Professional Multi-effect Processor
Operation Manual
INTRODUCTION
Congratulations on your acquisition of a Yamaha SPX1000 Professional Multi-effect
Processor. The SPX1000 is a highly sophisticated digital reverberation and effects system
which offers 40 preset effect programs including accurate simulations of natural
reverberation and early-reflections, delay and echo effects, gated effects, modulation
effects, a versatile compressor, a low-level expander, a harmonic exciter, multiple effects
which function as several SPX000 units in one, independent 2-channel effects, freeze
(sampling) programs and others. With a sampling frequency of 44. 1 kHz, it delivers full,
flat frequency response from 20 Hz to 20 kHz for exceptionally clean, “transparent” effect
sound, and direct digital interfacing capability makes it compatible with the most up-todate sound systems. The preset effect programs can be edited, re-titled, and stored in any
of 59 RAM user memory locations. Individual two-band parametric EQ and dynamic filter
parameters are provided for each effect program for precise tonal tailoring. In addition to
the basic effect and EQ parameters, the SPX1000 offers a list of “internal parameters”
which provide exacting control over the effect sound. The SPX1000 is also MIDI
compatible, with a MIDI IN terminal that allows MIDI selection of effect programs, and
a switchable MIDI THRU/OUT terminal. When switched to OUT, edited programs stored
in internal RAM can be dumped to a MIDI data recorder or other data storage device.
Programs thus stored can be reloaded when necessary via the MIDI IN terminal. As an
extra touch of convenience the SPX1000’s analog input and output terminals can be
switched to match -20 dBm or +4 dBm line levels + providing compatibility with a broader
range of sound equipment.
In order to fully take advantage of all the capability offered by the SPX1000 Professional
Multi-effect Processor, we urge you to read this operation manual thoroughly— and keep
it in a safe place for later reference.
FCC INFORMATION
While the following statements are provided to comply
with FCC Regulations in the United States, the corrective measures listed below are applicable worldwide.
This series of Yamaha professional music equipment
uses frequencies that appear in the radio frequency
range and if installed in the immediate proximity of
some types of audio or video devices (within three
meters), interference may occur. This series of Yamaha
combo equipment have been type tested and found
to comply with the specifications set for a class B
computing device in accordance with those specifications listed in subpart J of part 15 of the FCC rules.
These rules are designed to provide a reasonable
measure of protection against such interference.
However, this does not guarantee that interference
will not occur. If your professional music equipment
should be suspected of causing interference with other
electronic devices, verification can be made by turning
your combo equipment off and on. If the interference
continues when your equipment is off, the equipment
is not the source of interference. If your equipment
does appear to be the source of the interference, you
should try to correct the situation by using one or
more of the following measures:
Relocate either the equipment or the electronic device
that is being affected by the interference. Utilize power
outlets for the professional music equipment and the
device being affected that are on different branch
(circuit breaker or fuse) circuits, or install AC line
filters.
In the case of radio or TV interference, relocate the
antenna or, if the antenna lead-in is 300 ohm ribbon
lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact your authorized Yamaha
professional products dealer for suggestions and/or
corrective measures.
If you cannot locate a franchised Yamaha professional
products dealer in your general area contact the professional products Service Department, Yamaha Music
Corporation, 6600 Orangethorpe Ave., Buena Park,
CA 90620, U.S.A.
If for any reason. you should need additional information relating to radio or TV interference, you may
find a booklet prepared by the Federal Communications Commission helpful:
“How to identify and Resolve Radio-TV Interference
Problems”. This booklet is available from the U.S.
Government Printing Office, Washington D.C. 20402
- Stock No. 004-000-00345-4.
TABLE OF CONTENTS
PRECAUTIONS
1: CONTROLS AND CONNECTIONS
THE FRONT PANEL
THE CONNECTOR PANEL
3
3
5
2: THE SPX1000 SYSTEM
MEMORY CONFIGURATION
INPUT MODE AND DIGITAL I/O
CONFIGURATIONS
INPUT MODES
DIGITAL l/O MODES
6
6
3: GENERAL OPERATION
SELECTING AN EFFECT/MEMORY LOCATION
BYPASSING THE EFFECT
ACCESSING & EDITING THE PROGRAM
PARAMETERS
STORING EFFECTS
EXTERNAL CONTROL ASSIGNMENT
4: THE PROGRAMS & PARAMETERS
PARAMETERS PROVIDED FOR ALL PROGRAMS
LEVEL PARAMETERS (Accessed via
LEVEL key)
EQ PARAMETERS (Accessed via EQ key)
REVERB PROGRAMS
1. REV 1 HALL
2. REV 2 ROOM
3. REV 3 VOCAL
4. REV 4 PLATE
5. REV 5 ECHO ROOM
EARLY REFLECTION PROGRAMS
6. EARLY REF. 1
7. EARLY REF. 2
8. EARLY REF. 3
9. GATE REVERB
10. REVERSE GATE..
DELAY PROGRAM
11. DELAY L,C,R
ECHO PROGRAM
12. STEREO ECHO
MODULATION PROGRAMS
13. STEREO FLANGE A
14. STEREO FLANGE B
15. CHORUS
16. STEREO PHASING
17. TREMOLO
18. SYMPHONIC
NOISE GATE
19. ADR-NOISE GATE
6
6
7
9
9
9
9
10
10
12
12
12
12
13
13
13
13
14
15
15
15
15
15
15
15
17
17
17
17
18
18
18
18
18
18
18
19
19
PITCH CHANGE PROGRAMS
20. PITCH CHANGE 1
21. PITCH CHANGE 2
22. PITCH CHANGE 3
39. STEREO PITCH
FREEZE PROGRAMS
23. FREEZE 1
24. FREEZE 2
40. STEREO FREEZE
PAN PROGRAMS
25. PAN
26. TRIGGERED PAN
DISTORTION PROGRAM
27. DISTORTION
MULTI-EFFECT PROGRAMS
28. MULTI (CHO&REV)
29.MULTI(SYM+REV)
30. MULTI (EXC&REV)
2-CHANNEL PROGRAMS
31. PLATE + HALL
32. ER + REV
33. ECHO + REV
34. CHORUS + REV
35. PAN + PAN
COMPRESSOR & EXPANDER PROGRAMS
36. COMPRESSOR
37. LO LVL EXPANDER
EXCITER PROGRAM
38. EXCITER
5: UTILITY FUNCTIONS
TITLE EDIT
INPUT MODE
A/D l/O MODE
DIGITAL IN ATT
USER ER EDIT
MEMORY PROTECT
MIDI CONTROL & MIDI PGM CHANGE
MIDI CTRL ASSIGN
BULK OUT 1 & BULK OUT 2
F.SW MEMORY RCL
6: DATA & SPECIFICATIONS
ROM CONTENTS AND CONTROLLABLE
PARAMETERS
MIDI DATA FORMAT
MIDI IMPLEMENTATION CHART
BLOCK DIAGRAM
DIMENSIONS
SPECIFICATIONS
19
20
20
20
21
21
21
23
23
23
24
24
24
24
25
25
26
26
26
26
27
27
28
28
29
29
30
30
30
31
31
31
31
31
31
32
32
33
33
34
Add-1
Add-1
Add-15
Add-28
Add-29
Add-30
Add-31
1
PRECAUTIONS
6. CLEAN WITH A SOFT DRY CLOTH
1. AVOID EXCESSIVE HEAT, HUMIDITY, DUST AND
VIBRATION
Keep the unit away from locations where it is likely to
be exposed to high temperatures or humidity – such
as near radiators, stoves, etc. Also avoid locations
which are subject to excessive dust accumulation or
vibration which could cause mechanical damage.
Never use solvents such as benzine or thinner to clean
the unit. Wipe clean with a soft, dry cloth.
7. ALWAYS USE THE CORRECT POWER SUPPLY
Make sure that the power supply voltage specified on
the rear panel matches your local AC mains supply.
8. ELECTRICAL INTERFERENCE
2. AVOID PHYSICAL SHOCKS
Strong physical shocks to the unit can cause damage.
Handle it with care.
3. DO NOT OPEN THE CASE OR ATTEMPT REPAIRS OR
MODIFICATIONS YOURSELF
This product contains no user-serviceable parts. Refer
all maintenance to qualified Yamaha service
personnel. Opening the case and/or tampering with the
internal circuitry will void the warranty.
4. MAKE SURE POWER IS OFF BEFORE MAKING OR
REMOVING CONNECTIONS
Always turn the power OFF prior to connecting or
disconnecting cables. This is important to prevent
damage to the unit itself as well as other connected
equipment.
5. HANDLE CABLES CAREFULLY
Since the SPX000 contains digital circuitry, it may
cause interference and noise if placed too close to TV
sets, radios or similar equipment. If such a problem
does occur, move the SPX1000 further away from the
affected equipment.
9. BACKUP BATTERY
The SPX1000 contains a long-life lithium battery which
maintains the contents of the buffer and user memory
locations even when the unit is turned OFF. With
normal use the battery should last for approximately 5
years. If the battery voltage falls below the safe level,
however, the "*** WARNING *** LOW BATTERY”
display will appear on the LCD when the power is first
turned ON. If this occurs, have the battery replaced by
a qualified Yamaha service center. Do not attempt to
replace the battery yourself!
Always plug and unplug cables – including the AC
cord – by gripping the connector, not the cord.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
WARNING : THIS APPARATUS MUST BE EARTHED
IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:
GREEN-AND-YELLOW :
EARTH
BLUE
:
NEUTRAL
BROWN
:
LlVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured
markings identifying the terminals in your plug proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug
or coloured GREEN or GREENwhich is marked by the letter E or by the safety earth symbol
AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter
N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the
letter L or coloured RED.
CANADA
THIS APPARATUS COMPLIES WITH THE "CLASS B” LIMITS FOR RADIO NOISE EMISSIONS SET OUT IN RADIO INTERFERENCE REGULATIONS.
CET APPAREIL EST CONFORME AUX NORMES “CLASSE B”. POUR BRUITS RADIOELECTRIQUES. TEL QUE SPECIFIER DANS LE REGLEMENT SUR LE BROUILLAGE
RADIOELECTRIQUE.
2
1: CONTROLS AND CONNECTIONS
THE FRONT PANEL
Power ON/OFF Switch
Press to turn power ON, press again to turn power OFF.
When the power is turned ON, the last program and
parameter selected will be automatically recalled.
Input Level Controls
These concentric controls vary the input level of the
analog inputs from approximately -90 dB to +l0 dB when
the rear-panel input level switch is set to +4 dB, and
between approximately -110 dB and -14 dB when the
input level switch is set to -20 dB. The inner control
adjusts the left channel and the outer control adjusts the
right channel.
PARAM Key
Accesses the main effect parameters for each program.
Each time the PARAM key is pressed the next parameter
in the selected program’s “parameter set” is called. It is
also possible to scroll backward through the parameter set
by using the SCROLL BACK key (7). Once the desired
parameter has been selected its value or setting can be
changed using the parameter and keys (9). The
PARAM key is also used for cursor control (forward
cursor movement) in some utility functions.
• Details under “THE PROGRAMS & PARAMETERS”
starting on page 12
LEVEL Key
Accesses the output level and balance parameters for
each program. Once the LEVEL key has been pressed,
both the LEVEL key and SCROLL BACK (7) key can be
used to select parameters. Once the desired parameter has
been selected its value or setting can be changed using
the parameter and keys (9).
• Details on page 12
EQ Key
Accesses the digital equalizer or dynamic filter
parameters for each program. Once the EQ key has been
pressed, both the EQ key and SCROLL BACK (7) key
can be used to select parameters. Once the desired
parameter has been selected its value or setting can be
changed using the parameter and keys (9).
• Details on page 12
INT PARAMETER Key
Accesses a special set of internal parameters for each
effect program. Once the INT PARAM key has been
pressed, both the INT PARAM key and SCROLL BACK
(7) key can be used to select parameters. Once the desired
parameter has been selected its value or setting can be
changed using the parameter and
keys (9).
• Details under “THE PROGRAMS & PARAMETERS”
starting on page 12
SCROLL BACK Key
When any set of parameters is selected – PARAM,
LEVEL, EQ, or INT PARAM – the SCROLL BACK
key can be used to scroll backward through the available
parameters while the PARAM (3), LEVEL (4), EQ (5) or
INT PARAMETER (6) key scrolls forward, according to
the parameter set selected. The preceding parameter in
the current set is selected each time the SCROLL BACK
key is pressed. The SCROLL BACK key is also used for
cursor control (backward cursor movement) in some
utility functions.
EXT CTRL ASSIGN Key
This key makes it possible to assign any parameters
(PARAM, LEVEL, EQ or INT PARAM) to external
controllers connected to the front-panel EXT CTRL/
FOOT VOL 1 and 2 jacks (21). These controllers can
then be used to control the assigned parameter in real
time. Yamaha FC7 Foot Controllers are recommended.
• Details on page 10
Parameter
and
Keys
These keys are used to change parameter values when
parameters are selected for editing (after the PARAM,
LEVEL, EQ or INT PARAM key has been pressed). The
and keys are also used to program several
parameter
UTILITY functions. The and keys can be pressed
briefly to change values in single steps, or held down for
rapid continuous incrementing or decrementing of the
selected value. While holding down either the or
key, pressing the other key
or
causes the
incrementing or decrementing process to be carried out
more rapidly.
3
Program Select
and
Keys
These keys are used to select any of the SPX1000’s
memory locations. The key increments (increases) the
memory location number while the key decrements
(decreases) the memory location number. Holding either
key down causes continuous scrolling in the specified
direction.
• Details on page 9
RECALL Key
When a new memory location number has been selected
using the program select and keys, the RECALL key
must be pressed to activate the selected effect.
• Details on page 9
STORE Key
This key is used to store edited effect programs into one
of the user memory locations between 41 and 99.
• Details on page 10
UTILITY Key
This key accesses a set of utility functions allowing
selection of the SPX1000's input/output mode, editing of
effect titles, creation of original early-reflection patterns,
MIDI control programming, footswitch recall range
programming and others.
• Details on page 31
TRIGGER Key
The TRIGGER key allows manual triggering of any
SPX1000 effect program that has trigger parameters. The
reverb programs, for example, include a triggerable gate,
and the freeze programs allow triggering of recording and
playback. The TRIGGER key has the same function as a
footswitch plugged into the rear-panel TRIGGER 1 SW
jack (THE CONNECTOR PANEL, 6).
BYPASS Key
The BYPASS key switches the selected effect ON or
OFF. leaving only the direct signal when BYPASS is
active. The BYPASS key has the same function as a
footswitch plugged into the rear-panel BYPASS jack
(THE CONNECTOR PANEL, 4).
• Details on page 9
4
LCD (Liquid Crystal Display)
This 16-character x 2-line liquid crystal display panel
normally displays the title of the selected effect on the
top line and a selected parameter and its value on the
bottom line. One or both lines may also be used to
display error messages or warnings. “M” will be displayed
in the upper right corner after receiving the MIDI data.
LED Memory Number Display
This 2-digit numeric display shows the number of the
currently selected memory location (1 – 99). When the
LED display is continuously lit the effect corresponding
to the number displayed is active. When the LED display
is flashing, this indicates that a new memory location has
been selected but has not yet been recalled, leaving the
previously selected effect active.
INPUT MODE Indicators
Indicate the selected input mode.
• Details on page 6
DIGITAL I/O Indicators
Indicate the selected DIGITAL I/O mode.
• Details on page 7
Input Level Meter
The stereo input level meter consists of eight LED
segments per channel, corresponding to -42 dB, -36 dB,
-30 dB, -24 dB, -18 dB, -12 dB, -6 dB and CLIP input
level.
EXT CTRL/FOOT VOL 1 and 2 Jacks
Optional Yamaha FC7 Foot Controllers plugged into
these jacks can be used to directly control SPX1000
effect program parameters. The parameters to be
controlled are assigned to the controllers using the EXT
CTRL ASSIGN key (8).
• Details on page 10
THE CONNECTOR PANEL
L(MONO) & R INPUT Connectors and Level
Switch
These are the analog stereo inputs to the SPX1000. The
input jacks are standard 1/4” monaural phono types. The
level switch selects either -20 dB or +4 dB nominal input
level. Please note that the operation of the INPUT jacks
depends on the selected INPUT and DIGITAL I/O modes.
Refer to “INPUT MODES” and DIGITAL I/O MODES”
on page 6 for details.
When an input mode has not been selected and only one
input is being used, input is through L(MONO).
L & R OUTPUT Connectors and Level Switch
The stereo analog outputs from the SPX1000. The output
jacks are standard l/4” monaural phono types. The level
switch selects either -20 dB or +4 dB nominal output
level. Please note that the operation of the OUTPUT
jacks depends on the selected DIGITAL I/O mode. Refer
to “DIGITAL I/O MODES” on page 7 for details.
DIGITAL IN and OUT Connectors
These are the SPX1000’s stereo digital inputs and
outputs. All digital data is handled in Yamaha format.
The DIGITAL IN and OUT connectors are directly
compatible with other Yamaha equipment that provides
digital I/O capability – the DMP7D Digital Mixing
Processor and DEQ7 Digital Equalizer are excellent
examples. The Yamaha FMC1 Format Converter can also
be used to convert the SPX1000’s digital output to
virtually all popular digital formats, allowing direct
connection to standard digital recorders, etc. Please note
that the operation of the DIGITAL IN and OUT jacks
depends on the selected DIGITAL I/O mode. Refer to
“DIGITAL I/O MODES” on page 7 for details.
BYPASS Footswitch Jack
An optional Yamaha FC5 footswitch or equivalent
connected to this jack can be used for foot control of the
BYPASS function.
• Details on page 9
INC/DEC Footswitch Jack
An optional Yamaha FC5 footswitch or equivalent
connected to this jack can be used to recall a range of
programs specified by the UTILITY mode F.SW
MEMORY RECALL RANGE function.
• Details on page 34
TRIGGER 1 SW Footswitch Jack
The TRIGGER 1 SW footswitch jack accepts a Yamaha
FC5 or equivalent footswitch for foot-controlled
triggering of any SPX1000 effect program that has trigger
parameters. The reverb programs, for example, include a
triggerable gate, and the freeze programs allow triggering
of recording and playback. A footswitch connected to the
TRIGGER 1 SW jack has the same function as the frontpanel TRIGGER key (THE FRONT PANEL, 14).
TRIGGER 2 ANALOG Jack & MIC/LINE Switch
The triggerable SPX1000 effect programs (gate programs,
freeze programs, etc.) can be triggered by the front-panel
TRIGGER key, a footswitch connected to the TRIGGER
1 SW jack, or an input signal appearing at the INPUT L
and R or DIGITAL IN connectors. The TRIGGER 2
ANALOG jack offers a fourth triggering method:
triggering can be accomplished by applying an analog
signal of sufficient amplitude to this jack. The MIC/LINE
switch changes the sensitivity of the TRIGGER 2
ANALOG input to accept microphone or line-level
signals.
MIDI IN and THRU/OUT Terminals
MIDI signals from external MIDI devices can be fed to
the MIDI IN terminal to remotely select effects, set the
pitch shift of the pitch change effects and set the pitch of
freeze-program playback. When the switch controlling
the remaining MIDI terminal is set to THRU, the terminal
simply re-transmits data received at the MIDI IN terminal
allowing daisy-chaining of MIDI devices. When set to
OUT, the internal RAM memory contents may be
dumped to a MIDI data recorder for large-volume, longterm storage. Program data thus stored can be reloaded
later via the MIDI IN terminal (see BULK OUT 1 &
BULK OUT 2 on page 33).
5
2: THE SPX1000 SYSTEM
MEMORY CONFIGURATION
The SPX1000 has a total of 99 internal memory locations.
Locations 1 through 40 are READ-ONLY MEMORY
containing 40 preset effect programs. These locations cannot
be written to or changed in any way. The preset effect
programs contained in memory locations 1 through 40 are:
1. REV 1 HALL
2. REV 2 ROOM
3. REV 3 VOCAL
4. REV 4 PLATE
5. REVS ECHO ROOM
6. EARLY REF. 1
7. EARLY REF. 2
8. EARLY REF. 3
9. GATE REVERB
10. REVERSE GATE
11. DELAY L,C,R
12. STEREO ECHO
13. STEREO FLANGE A
14. STEREO FLANGE B
15. CHORUS
16. STEREO PHASING
17. TREMOLO
18. SYMPHONIC
19. ADR-NOISE GATE
20. PITCH CHANGE 1
21. PITCH CHANGE 2
22. PITCH CHANGE 3
23. FREEZE 1
24. FREEZE 2
25. PAN
26. TRIGGERED PAN
27. DISTORTION
28. MULTI (CHO&REV)
29. MULTI (SYM+REV)
30. MULTI (EXC&REV)
3 1. PLATE + HALL
32. ER + REV
33. ECHO + REV
34. CHORUS + REV
35. PAN + PAN
36. COMPRESSOR
37. LO LVL EXPANDER
38. EXCITER
39. STEREO PITCH
40. STEREO FREEZE
Locations 41 through 99 are READ/WRITE MEMORY which
can be used to store your own edited versions of the preset
programs.
This is the normal mode of operation in which left- and rightchannel signals received at the left- and right-channel inputs
are passed on to the SPX1000 processing circuitry on the
same channels as which they were received.
STEREO REVERSE
In this input mode the received left- and right-channel signals
are switched to the opposite channels. The left-channel input
is fed to the right-channel processing circuitry and the rightchannel input signal is fed to the left-channel processing
circuitry.
MONO LEFT
This and the MONO R mode described below are ideal for use
with monaural input signals. In the MONO L mode a
monaural signal received at the INPUT L jack is fed to both
the left- and right-channel processing circuitry.
MONO RIGHT
INPUT MODE AND DIGITAL I/O
CONFIGURATIONS
The SPX1000 offers a choice of input modes as well as analog
and digital input/output configurations, providing
extraordinary flexibility in “adapting” to various systems and
requirements.
INPUT MODES
The SPX1000 offers the following input modes, regardless of
the selected DIGITAL I/O mode:
STEREO NORMAL
A monaural signal received at the INPUT R jack is fed to both
the left- and right-channel processing circuitry.
Selecting an Input Mode
Input modes are selected using the utility-mode INPUT
MODE function.
1. Press the UTILITY key twice to call the INPUT MODE
function.
6
2. Use the parameter select and keys to select the desired
input mode. The name of the selected input mode should
now be flashing on the LCD.
3. Press the STORE key to activate the selected input mode.
The name of the selected mode will stop flashing and the
corresponding INPUT MODE indicator LED will light (ST
NORMAL, ST REVERSE, MONO L or MONO R).
In this mode the SPX1000 receives input via the analog
INPUT L and R jacks. The DIGITAL IN and OUT jacks
function as a post-effect insert point, allowing a second
SPX1000 or other Yamaha-format digital device to be inserted
into the signal path after the effect processor. Output is
delivered via the analog OUTPUT L and R jacks.
DIGITAL(DIGlTAL ONLY)
4. Press and hold the UTILITY key until its indicator goes
out and the utility mode is exited.
DIGITAL I/O MODES
The SPX1000 has the following DIGITAL I/O modes which
determine the operation of its analog and digital inputs and
outputs.
ANALOG
In this mode the analog INPUT L and R jacks are inactive and
the SPX1000 receives input via the DIGITAL IN connector.
Both the analog OUTPUT L and R and DIGITAL OUT
connectors are active so that the SPX1000’s output can be
simultaneously fed to analog and digital equipment if
required.
Selecting a DIGITAL l/O Mode
In this mode the DIGITAL IN connector is inactive and the
SPX1000 receives input via the analog INPUT L and R jacks.
Both the analog OUTPUT L and R and DIGITAL OUT
connectors are active so that the SPX1000’s output can be
simultaneously fed to analog and digital equipment if
required.
PRE(lNSERT PRE)
In this mode the SPX1000 receives input via the analog
INPUT L and R jacks. The DIGITAL IN and OUT jacks
function as a pre-effect insert point, allowing a second
SPX1000 or other Yamaha-format digital device to be inserted
into the signal path prior to both the input selector and effect
processor. Output is delivered via the analog OUTPUT L and
R jacks.
POST(INSERT POST)
DIGITAL I/O modes are selected using the utility-mode A/D
I/O MODE function.
1. Press the UTILITY key three times to call the A/D I/O
MODE function.
This function has two parameters: MODE and CLK
(clock). The MODE parameter can be set to any of the four
DIGITAL I/O modes described above: ANA (Analog),
PRE, PST (Post), or DIG (Digital). When the DIG, PRE or
PST mode is selected, the CLK parameter can be set to
INT (Internal) or EXT (External), determining whether the
digital clock signal is derived from the SPX1000’s own
internal clock generator (INT) or the clock signal included
in the digital input signal received via the DIGITAL IN
connector (EXT). When the ANA mode is selected the
CLK parameter is fixed at INT.
2. Use the parameter select and keys to select the desired
DIGITAL I/O MODE. The name of the selected mode
should now be flashing on the LCD.
3. If necessary, press the PARAM key to move the
underline cursor to the CLK parameter and use the
parameter select and keys to select the desired CLK
setting. The SCROLL BACK key can be used to move
the underline cursor back to the MODE parameter if
necessary.
4. Press the STORE key to activate the selected DIGITAL I/O
mode and CLK setting. The name of the selected mode will
stop flashing and the corresponding DIGITAL I/O
indicator LED will light (INSERT PRE, INSERT POST or
DIGITAL ONLY). None of the DIGITAL I/O indicators
will light if the ANA mode is selected.
7
5. Press and hold the UTILITY key until its indicator goes
out and the utility mode is exited.
CAUTION!
When the SPX1000 clock (CLK) mode is switched from
internal (INT) to external (EXT), or vice-versa, a noise pulse
may appear at the outputs. This also occurs if the SPX1000 is
switched from digital to analog input while CLK is set to EXT
(CLK is automatically reset to INT in this case).
Be sure to lower the volume level of equipment connected to
the SPX1000 outputs when performing any of above
operations.
8
3: GENERAL OPERATION
SELECTING AN EFFECT/MEMORY LOCATION
1. Effects and memory locations can only be selected when
the utility mode is not active (the UTILITY KEY indicator
is not lit). If the UTILITY key indicator is lit, press and
hold the UTILITY key until its indicator goes out and the
utility mode is exited.
2. Press the program select or key to increment or
decrement the memory location number shown on the LED
display. Hold either of these keys down for continuous
incrementing or decrementing. The name of the program
corresponding to the currently selected memory location
will be shown on the LCD, or "*** NO DATA ***" will
be displayed if a memory location between 41 and 99 is
selected into which an edited effect program has not been
stored. Note that at this stage the LED memory number
display is flashing, indicating that although a new location
has been selected, its contents have not yet been recalled.
3. When the desired memory location/effect has been
selected, press the RECALL key. The LED memory
number display will stop flashing and the selected effect
will be engaged.
ACCESSING & EDITING
THE PROGRAM PARAMETERS
Each SPX1000 program has 4 different groups of parameters
which are accessed by pressing the corresponding parameter
select keys:
KEY
PARAM
ACCESSES
The main effect parameters for each program.
These parameters will vary according the type
of program.
LEVEL
The BALANCE and OUT LVL parameters for
each program.
EQ
The equalization or dynamic filter parameters
for each program.
INT. PARAM. Special "fine control" parameters for each
program. These parameters will vary
according to the type of program.
To call a specific group of parameters for the currently
selected effect program, press the appropriate parameter select
key. The next parameter within the group is called each time
the parameter select key for that group is pressed. In any
parameter group, the SCROLL BACK key can be used to
scroll backwards through the parameters. For example,
subsequent presses on the LEVEL parameter select key call
the following parameters:
BALANCE -> OUT LVL -> BALANCE -> etc.
- blink -
The complete procedure for calling and editing parameters is:
1. Select and recall the program to be edited.
2. Press the parameter select key corresponding to the group
of parameters to be edited (PARAM, LEVEL, EQ or INT
PARAM) and the first of the selected group's parameters
will appear on the bottom line of the LCD.
BYPASSING THE EFFECT
There are two ways to switch the selected effect in and out: 1)
with the control panel BYPASS switch and 2) with a
footswitch connected to the connector-panel BYPASS
footswitch jack. An optional Yamaha FC5 Footswitch can be
used for foot-bypass control. In either case + when the
control-panel BYPASS key or BYPASS footswitch is pressed
+ the LED in the BYPASS key will light to indicate that the
selected program is currently being bypassed and the input
signal is directly routed to the output terminals (i.e. the effect
is OFF). Press the BYPASS key or footswitch a second time
to turn off the BYPASS Key LED and turn the effect back
ON.
3. Once the desired parameter has been called, its value can
be edited using the parameter and keys. The key
increases (increments) the value while the key decreases
(decrements) the value. Either key can be held down for
continuous incrementing or decrementing.
While holding down either the or key, pressing the
other key ( or ) causes the incrementing or
decrementing process to be carried out more rapidly.
9
3. Press the STORE key to store the edited effect in the
selected memory location. The title of the effect stored will
appear on the LCD (this may later be edited to create your
own effect title using the UTILITY mode TITLE EDIT
function described on page 31). The LED memory number
display will stop flashing and the stored memory location
will become the active effect.
NOTE:
You CANNOT store edited data to memory locations 1
through 40. If you attempt to do this the LCD will show
“*** READ ONLY ***”.
NOTE:
In this way you can go through and edit any number of the
parameters to create the required effect. If, however, you
select and recall a new program without first storing your
edited parameters in a memory location between 41 and 99,
any changes you have made will be lost and will have to be
re-programmed. If you want to keep an edited program, use
the STORE operation described below.
STORING EFFECTS
In order to store an edited effect for later recall you need to do
the following:
1. Make sure that the SPX1000 MEMORY PROTECT
function is OFF. Press the UTILITY key a few times until
the MEMORY PROTECT function appears. If it is ON,
press the parameter key to turn it OFF. Press and hold
the UTILITY key until its indicator goes out and the utility
mode is exited.
2. After editing the effect. select a memory location between
41 and 99 by using the program select and keys. Do
not recall the selected memory location. If an edited
program has previously be stored in the selected memory
location. its title will be displayed on the LCD.
10
Once an effect has been stored in a memory location
between 41 and 99, its parameters can be further edited in
the new memory location. Such changes will be lost if a
different effect is selected and recalled, however, unless the
STORE function is used to store the changes. Changes may
be stored to the current memory location number (41 – 99)
simply by pressing the STORE key.
EXTERNAL CONTROL ASSIGNMENT
The SPX1000 allows two different parameters of a selected
effect to be controlled by optional foot controllers (Yamaha
FC7) connected to the front-panel EXT CTRL/FOOT VOL1
and 2 jacks. The EXT CTRL ASSIGN key is used to assign
the desired effect parameters to the foot controllers used, and
to set the required control range. External control assignments
made for an effect program can be stored in the user memory
area (41 – 99) along with the effect (using the STORE
function described above), so that the assignments made are
recalled whenever that memory location is selected.
1. Select the desired effect program.
2. Select the parameter to be assigned to an external foot
controller (PARAM, LEVEL, EQ or INT PARAM
parameters can be assigned).
3. Press the EXT CTRL ASSIGN key. The name of the
selected effect program will remain on the upper line of the
LCD, and one of the following parameters will appear on
the lower line:
6. Use the “MIN” and “MAX” parameters for the appropriate
controller to set the control range. If the parameter to be
controlled has a range of 0 to 100%, for example, setting
the MIN parameter to 20 and the MAX parameter to 80
will allow the foot controller to vary the selected parameter
from 20% to 80% of its total range.
NOTE:
Either or both controllers may be assigned. When both
controllers are used, each can be assigned a different
parameter within the selected effect program.
NOTE:
External control assignments will be lost if a different
memory location is selected without first storing the
assigned effect program into one of the user memory
locations (41 — 99) using the STORE function..
NOTE:
MIDI control change messages received via the MIDI IN
connector can also be used to control assigned parameters.
See “MIDI CTRL ASSIGN” on page 63.
CAUTION!
When setting the range and storing it in the program,
always make sure the preset values for the assigned
parameters are included within the set range.
When setting the range, confirm the values for MIN and
MAX with the controller, and always make sure the preset
values are inside the externally set values.
If the preset values are outside the specified range, there
may be no response to the controller when a recall
operation is carried out.
In the actual display, “XXXXXXXX” will be the name of
the default parameter for the selected effect program. The
EXT CTRL ASSIGN key can be used to scroll forward
through the above parameters, and the SCROLL BACK
key can be used to scroll backwards.
4. To assign the selected parameter to the EXT CTRL/FOOT
VOL 1 or EXT CTRL/FOOT VOL 2 controller, use the
EXT CTRL ASSIGN or SCROLL BACK key to call the
“FVOL1 XXXXXXXX” or “FVOL2 XXXXXXXX”
parameter.
5. Press either the parameter or key and the parameter
you called within the selected effect program will be
assigned to the foot controller indicated on the display
(FVOL 1 or FVOL 2).
11
4: THE PROGRAMS & PARAMETERS
PARAMETERS PROVIDED
FOR ALL PROGRAMS
LEVEL PARAMETERS (Accessed via LEVEL key)
Effect/Direct Signal Balance (BALANCE): 0 – 100%
This parameter adjusts the balance between the direct sound
and effect signals. At 100% only the effect sound is delivered
from the SPX1000 outputs, while at 0% only the direct sound
is output. At a setting of 50%, the direct and effect sounds are
output in approximately equal proportions.
Low EQ Frequency (LOW FRQ): 32 Hz – 2.2 kHz
High EQ Frequency (HIGH FRQ): 500 Hz – 16 kHz
These parameters determine the center frequency for
equalization in the corresponding band. In the shelving mode,
these parameters represent the turn over frequency rather than
the center frequencies.
Low EQ Gain (LOW GAIN): -15 – + 15 dB
High EQ Gain (HIGH GAIN): -15 – + 15 dB
These parameters determine the amount of boost or cut
applied to the corresponding EQ band.
Effect Output Level (OUT LVL): 0 – 200%
This parameter sets the overall output level of the effect
program. This is particularly handy for matching levels
between different effects.
2-CHANNEL PROGRAM (PROGRAMS 31 – 35) LEVEL
PARAMETERS
The level parameters available for the 2-channel programs
(programs 3 1 – 35) are the same as those for the other
programs, except that separate parameters are provided for the
left and right channels.
BALANCE 1 = 1 (Left)-channel Balance
BALANCE 2 = 2 (Right)-channel Balance
OUT LVL 1 = 1 (Left)-channel Output Level
OUT LVL 2 = 2 (Right)-channel Output Level
EQ PARAMETERS (Accessed via EQ key)
When the EQ key is pressed, you are presented with three
choices: “OFF” (the default setting), “EQ” (2-band parametric
equalizer mode), or “D.FLT” (Dynamic Filter mode). Use the
parameter and keys to select the desired mode of
operation. The EQ mode provides 2-band parametric
equalization, while the Dynamic Filter mode provides a filter
which can be automatically swept across a specified frequency
range by the SPX1000’s internal low frequency oscillator or
the level of the input signal.
Low EQ Bandwidth (LOW Q): 0.1 – 5.0 (PEAK mode
only)
High EQ Bandwidth (HI Q): 0.1 – 5.0 (PEAK mode
only)
These parameters determine the bandwidth of the
corresponding EQ band. A setting of 5.0 produces the
narrowest bandwidth (sharpest response), and the minimum
setting of 0.1 produces the widest bandwidth (broadest
response). Note that the “Q” parameters for the low and high
bands only function when the corresponding band is set to the
PEAK mode.
PARAMETERS AVAILABLE IN THE “EQ"
MODE
Low EQ Peaking or Shelving Response (LOW EQ.):
PEAK, SHLV
High EQ Peaking or Shelving Response (HIGH EQ):
PEAK, SHLV
These parameters determine whether the corresponding band
has a peaking or shelving filter response.
12
PARAMETERS AVAILABLE IN THE “D.FLT”
MODE
Control Type (CTL TYPE): LFO, LEVEL
Determines whether the sweep of the dynamic filter is
controlled by the SPX1000’s LFO (Low Frequency Oscillator)
or the level of the input signal to analog trigger.
Filter Type (FLT TYPE): LPF, HPF, BPF, PEQ
Filter Shift Direction (SHIFT): UP, DOWN
Determines the response of the dynamic filter:
Determines which direction the dynamic filter will sweep in
from the starting point.
LPF = Low Pass Filter
HPF = High Pass Filter
BPF = Band Pass Filter
PEQ = Parametric EQ
Filter Sensitivity (SENSITIVITY): 1 – 10
Adjusts the sensitivity of the dynamic filter. Higher settings
create a greater degree of sweep for the same change in input
level (LEVEL control type).
Filter Decay (DECAY): 1 – 10
Determines the speed at which the dynamic filter will return
to the starting frequency after activation.
Low Frequency Oscillator Frequency (LFO FRQ): 0.1
– 10.0 Hz
Sets the LFO frequency and thus the speed of dynamic filter
sweep when the LFO control type is selected.
2-CHANNEL PROGRAM (PROGRAMS 31 – 35) EQ
PARAMETERS
The EQ parameters for the 2-channel programs (programs 31
– 35) are the same as for the other programs, except that
separate EQ parameters are provided for the left and right
channels when the “EQ” mode is selected.
L LOW EQ = Left-channel Low EQ
L LOW F = Left-channel Low Frequency
L LOW G = Left-channel Low Gain
L LOW Q = Left-channel Low Bandwidth
L HI EQ = Left-channel High EQ
L HI F = Left-channel High Frequency
L HI G - Left-channel High Gain
L HI Q = Left-channel High Bandwidth
R LOW EQ = Right-channel Low EQ
R LOW F = Right-channel Low Frequency
R LOW G = Right-channel Low Gain
R LOW Q = Right-channel Low Bandwidth
R HI EQ = Right-channel High EQ
R HI F = Right-channel High Frequency
R HI G - Right-channel High Gain
R HI Q = Right-channel High Bandwidth
REVERB PROGRAMS
Center Frequency (F CENTER): 32 Hz – 16 kHz
Sets the starting center frequency of the dynamic filter.
Frequency Depth (F DEPTH): 0 – 8 octaves
Determines the maximum sweep range of the dynamic filter.
Filter Gain (GAIN): -18, -12, -6, 6, 12, 18 dB (when
FLT TYPE = PEQ only)
Determines the gain of the dynamic filter when the PEQ filter
type is selected. Minus values create a notch response while
positive values create a peaking response.
Bandwidth (Q): LOW, HIGH
Sets the bandwidth of the dynamic filter.
1. REV1
2. REV2
3. REV3
4. REV4
5. REV5
HALL
ROOM
VOCAL
PLATE
ECHO ROOM
Reverberation is the warm musical “ambience” you
experience when listening to music in a hall or other properlydesigned acoustic environment. The SPX1000 offers several
different reverb effects, simulating types of reverberation you
would experience in a hall (REV 1 HALL), in a smaller room
(REV 2 ROOM), a reverb effect ideally suited to vocals (REV
3 VOCAL), the type of reverberation produced artificially by
13
a plate reverberator (REV 4 PLATE), and a special echo room
(REV 5 ECHO ROOM) in which you have extensive control
over the room’s dimensions and other parameters.
PARAMETERS ACCESSED BY THE PARAM KEY
(Except 5. REV5 ECHO ROOM)
Reverb Time (REV TIME):
0.3 – 480 seconds (1 REV1 HALL, 3 REV3 VOCAL)
0.1 –480 seconds (2 REV2 ROOM, 4 REV4 PLATE)
The length of time it takes for the level of reverberation at 1
kHz to decrease by 60 dB + virtually to silence. In a live
setting, this depends on several factors: room size, room
shape, type of reflective surfaces, and others.
High Frequency Reverb Time Ratio (HIGH): 0.1 – 1.0
Natural reverberation varies according to the frequency of the
sound. The higher the frequency, the more sound tends to be
absorbed by walls, furnishings and even air. These two
parameters allow alteration of the high-frequency and lowfrequency reverb times in relation to the overall reverb time.
Diffusion (DIFFUSION): 0 – 10
The complexity of the many reflections that make up
reverberation varies according to the shape of the room and its
contents. In the SPX1000 the term “diffusion” refers to the
complexity of these reflections. If the DIFFUSION parameter
is set to “0,” minimum complexity and therefore a clearer,
more straightforward reverb effect is produced. As the
DIFFUSION value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.1 – 1000 milliseconds
This represents the time delay between the direct sound of an
instrument in a concert hall and the first of the many
reflections that make up reverberation.
High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz
– 1 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
5. REV5 ECHO ROOM
Reverb Time (REV TIME): 0.3 – 480 seconds
The length of time it takes for the level of reverberation at 1
kHz to decrease by 60 dB + virtually to silence. In a live
setting, this depends on several factors: room size, room
shape, type of reflective surfaces, and others.
Room Width (WIDTH): 0.5 – 100.0 meters
Room Height (HEIGHT): 0.5 – 100.0 meters
Room Depth (DEPTH): 0.5 – 100.0 meters
These parameters make it possible to specify the main
dimensions of the echo room in meters. Basically, the larger
the dimensions of the room the longer the reverb sound.
Wall Variance (WALL VARY): 0 – 30
Irregularity factor refers to the relationship of the wall
surfaces in the echo room. At a setting of 1 all walls are
parallel. Higher settings increase the angles between the wall
surfaces, causing a distinct change in the reverb sound.
Listening Position (LIS. POSI.): FRONT, CENT., REAR
Allows position the “listener” to the front, center or rear of the
echo room in relation to the source sound.
High Frequency Reverb Time Ratio (HIGH): 0.1 – 1.0
Natural reverberation varies according to the frequency of the
sound. The higher the frequency, the more sound tends to be
absorbed by walls, furnishings and even air. These two
parameters allow alteration of the high-frequency and lowfrequency reverb times in relation to the overall reverb time.
Diffusion (DIFFUSION): 0 – 10
The complexity of the many reflections that make up
reverberation varies according to the shape of the room and its
contents. In the SPX1000 the term “diffusion” refers to the
complexity of these reflections. If the DIFFUSION parameter
is set to “0,” minimum complexity and therefore a clearer,
more straightforward reverb effect is produced. As the
DIFFUSION value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.1 – 1000 milliseconds
This represents the time delay between the direct sound of an
instrument in a concert hall and the first of the many
reflections that make up reverberation.
High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz
– 1 kHz
Low-pass Filter Frequency (LPF): 1 – 16 kHz, THRU
Same as other reverbs.
14
Width fine: -100 – +100
Density (DENSITY): 0 – 4
This sets the value specified with WIDTH as the reference
value (0) and is the parameter for fine adjustment.
This parameter determines the density of the reverb
reflections (i.e. the average amount of time between
reflections). A setting of 1 produces minimum reverb density
for a more spacious sound, while a setting of 4 produces the
most dense, “tightest” reverberation.
Height Fine: -100 – +100
This sets the value specified with HEIGHT as the reference
value (0) and is the parameter for further fine adjustment.
Trigger Level (TRG. LEVEL): 0 – 100%
Depth Fine: -100 – +100
This sets the value specified with DEPTH as the reference
value (0) and is the parameter for further fine adjustment.
Determines the level of the input signal required to trigger
“opening” of the reverb program gate. At 100% only very
high-level input signals will trigger the gate, while at 1% even
the tiniest input signal will trigger the gate.
Wall Vary Fine (W. VARY FINE): -100 – +100
This sets each of the value specified with WIDTH, HEIGHT,
DEPTH, and WALL VARY as the reference value (0) and is
the parameter for further fine adjustment.
Trigger Delay (TRG. DLY): -100 – +100 milliseconds
Produces a delay between the time at which the gate is
triggered and that at which it actually opens.
W. Decay: RT x 0.1 – 1.0
Hold Time (HOLD): 1 – 24,000 milliseconds
Among the REV components, this sets the reverberation time
of the REV components specified with WIDTH to a multiplier
value corresponding to the REV TIME. It simulates the
acoustic properties of the side walls.
Determines how long the gate stays open, allowing the signal
to pass.
H. Decay: RT x 0.1 – 1.0
D. Decay: RT x 0.1 – 1.0
Release Time (RELEASE): 3 – 24,000 milliseconds
Determines how long it takes for the gate to close fully after
the HOLD TIME has ended.
In the same way as for W. Decay, this sets a multiplier value
corresponding to REV TIME for reverberation time felt in
relation to the HEIGHT (vertical direction) in the height
direction and that felt for the DEPTH in the front-to-back
direction. It also simulates the acoustic properties of the walls
in the vertical and front-to-back disrections.
Analog Trigger Level (A. TRG LVL): 0 – 100
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Early Reflection/Reverb Balance (ER/REV BAL.): 0 –
100%
This parameter determines the level balance between the
early-reflection portion and final reverberation portion of the
reverb sound. At 100% only the early-reflection sound will be
produced. At 0% only the final reverberation sound will be
produced. A setting of about 50% produces both the earlyreflection and final reverberation sounds at equal level.
Reverb Delay (REV DLY): 0.1 – 300.0 milliseconds
Sets the delay between the beginning of the early reflections
– the initial group of sparse reflections that precede the dense
reverb sound – and the beginning of the reverb sound.
When an analog signal applied to the rear-panel TRIGGER 2
ANALOG jack is used to trigger the gate, this parameter
determines the level of the input signal required to trigger
“opening” of the reverb program gate. At 100% only very
high-level input signals will trigger the gate, while at 1% even
the tiniest input signal will trigger the gate. When this
function is used the TRG. LEVEL parameter should be set to
the highest value (100%) so that only signals applied to the
TRIGGER 2 ANALOG jack will activate the gate.
MIDI Trigger (MIDI TRG.): OFF, ON
When this parameter is turned ON, a KEY ON EVENT
message from an external MIDI keyboard can be used to
trigger the gate. A KEY ON EVENT message is transmitted
whenever a note on a MIDI keyboard is played.
NOTE:
This effect can also be triggered by the front-panel
TRIGGER key or a footswitch plugged into the rear-panel
TRIGGER 1 SW jack.
15
EARLY REFLECTION PROGRAMS
6. EARLY REF. 1
7. EARLY REF. 2
8. EARLY REF. 3
9. GATE REVERB
10. REVERSE GATE
These effects are created using different groupings of “early
reflections” – the first cluster of reflections that occurs after
the direct sound but before the dense reflections that are
known as reverberation begin.
PARAMETERS ACCESSED BY THE PARAM KEY
Early Reflection Pattern Type (TYPE):
EARLY REF. 1 & 2: S-HALL, L-HALL, RANDOM,
REVERSE, PLATE, SPRING
EARLY REF. 3: USER-A, USER-B, USER-C,
USER-D
GATE REVERB & REVERSE GATE: TYPE A,
TYPE B
In the EARLY REF. 1 and EARLY REF. 2 programs the
TYPE parameter selects one of six different patterns of early
reflections. S-HALL produces a typical grouping of early
reflections that would occur in a performing environment such
as a small hall. L-HALL simulates the early reflection pattern
of a larger hall. RANDOM produces an irregular series of
reflections that could not occur naturally. REVERSE
generates a series of reflections that increase in level – like
the effect produced by playing a recorded reverberation sound
backwards. PLATE produces a typical grouping of reflections
that would occur in a plate reverb unit, and SPRING produces
the same for spring type reverb unit.
In the EARLY REF. 3 program the TYPE parameter selects
one of the four user-programmed early reflection patterns:
USER-A, USER-B, USER-C or USER-D. The USER early
reflection patterns are programmed using the utility-mode
“USER ER EDIT” function (see “USER ER EDIT” on page
31 for details).
In the GATE REVERB and REVERSE GATE programs the
TYPE parameter selects either TYPE-A or TYPE-B.
Room Size (ROOM SIZE): 0.1 – 25
This parameter sets the time intervals between the early
reflections + a feature of natural early reflections which is
directly proportional to the size of the room.
Liveness (LIVENESS): 0 – 10
“Liveness” refers to the rate at which the reflected sounds
fade. An acoustically “dead” room is simulated by setting this
parameter to zero. Increasing the value of this parameter
creates an increasingly “live” sound, simulating an increasing
area of reflective surfaces in the room.
16
Diffusion (DIFFUSION): 0 – 10
The complexity of the many reflections that make up
reverberation varies according to the shape of the room and its
contents. In the SPX1000 the term “diffusion” refers to the
complexity of these reflections. If the DIFFUSION parameter
is set to “0,” minimum complexity and therefore a clearer,
more straightforward early reflection effect is produced. As
the DIFFUSION value is increased, the complexity of the
reflections increases producing a thicker, richer sound.
Initial Delay (INI DLY): 0.1 – 1000 milliseconds
Initial delay is the time between the beginning of the direct
sound and the beginning of the early reflections.
High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz
– 1 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Number of Early Reflections (ER NUMBER): 1 – 19
This parameter directly sets the number of early reflections
produced from 1 to 19.
Feedback Delay (FB DELAY): 0.1 – 26000
milliseconds
Feedback Gain (FB GAIN): -99 – +99%
Feedback High-frequency Ratio (FB HIGH): 0.1 – 1.0
The feedback parameters permit thickening and/or extending
the early reflection sound. Feedback causes the early
reflections to generate more early reflections of themselves,
thus the FB GAIN parameter determines how many times (for
how long) the early reflections are repeated. The FB DELAY
parameter sets a delay time between the beginning of the
original early-reflections and the first of the repeats caused by
feedback. Shorter FB DELAY times simply thicken the earlyreflection sound, while longer FB DELAY times can create
extended or repeated early reflection effects. FB HIGH
determines how much of the high-frequency content of the
original early reflections is fed back. The lower the setting,
the less of the original high frequencies are fed back. This
causes a gradual decrease in high frequency content at each
repeat.
Density (DENSITY):
EARLYREF.2: 1 – 3
EARLY REF. 3, GATE REVERB, REVERSE GATE:
0—3
Please note that the DENSITY parameter is not provided in
the EARLY REF. 1 program. This parameter determines the
density of the reverb reflections (i.e. the average amount of
time between reflections). A setting of 0 or 1 produces
minimum reverb density for a more spacious sound, while a
setting of 3 produces the most dense, “tightest” reverberation.
Feedback 1 Gain (FB1 GAIN): -99% – +99%
Feedback 2 Gain (FB2 GAIN): -99% – +99%
Set the amount of delay signal fed back to the input of the
processor. The higher the feedback gain setting, the greater
the number of delayed repeats produced by the corresponding
feedback loop.
High Frequency Feedback (HIGH): x0.1 – x1.0
Controls feedback in the high-frequency range. The highfrequency feedback is reduced as the value of this parameter
is decreased.
DELAY PROGRAM
11. DELAY L,C,R
This sophisticated delay effect offers independently variable
left, right and center channel delays.
PARAMETERS ACCESSED BY THE PARAM KEY
Left Channel Delay (Lch DLY): 0.1 – 5200
milliseconds
Right Channel Delay (Rch DLY): 0.1 – 5200
milliseconds
Center Channel Delay (Cch DLY): 0.1 – 5200
milliseconds
These parameters individually set the time between the direct
sound of the instrument and the first repeat heard from the
left, right and center channels.
Center Channel Level (Cch LVL): -200 – +200%
Adjusts the level of the center-channel delay signal.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz
–1kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
Feedback 1 Delay (FB1 DLY): 0.1 – 5200 milliseconds
Feedback 2 Delay (FB2 DLY): 0.1 – 5200 milliseconds
Two separate feedback loops are provided in the delay
program, and these parameters determine the amount of delay
applied to each feedback signal.
ECHO PROGRAM
12. STEREO ECHO
The stereo echo effect offers independently variable left and
right channel initial delays and echo intervals.
PARAMETERS ACCESSED BY THE PARAM KEY
Left Channel Feedback Delay (LFB DLY): 0.1 – 2600
milliseconds
Right Channel Feedback Delay (RFB DLY): 0.1 – 26000
milliseconds
17
After the initial delay produced by the INI DLY parameters,
the time between subsequent repeats is determined by the left
and right channel interval parameters.
The stereo flange effects produce a pleasant "swirling" sound
which can effectively thicken and add warmth to the sound of
an instrument. The flanging effect is produced by varying the
delay between two identical signals, thus producing a complex
varying "comb filter" effect.
Phasing is basically a "gentler" version of the flange effect,
lending a smooth, animated quality to the original sound.
The tremolo effect is produced in the same way as the flange
effect, but has a "bigger," more sweeping sound. The
symphonic effect adds richness and life to the sound.
PARAMETERS ACCESSED BY THE PARAM KEY
Left Channel Feedback Gain (Lch F.B): -99% — +99%
Right Channel Feedback Gain (Rch F.B): -99% —
+99%
Individually set the amount of the left or right channel delay
signal fed back to the input of the processor. The higher the
feedback gain setting, the greater the number of delayed
repeats produced for the corresponding channel.
High Frequency Feedback (HIGH): x0.1 — x1.0
Controls feedback in the high-frequency range. The highfrequency feedback is reduced as the value of this parameter
is decreased.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Left Channel Initial (L INI DLY): 0.1— 2600
milliseconds
Right Channel Initial (R INI DLY): 0.1— 2600
milliseconds
These parameters individually set the time between the direct
sound of the instrument and the first repeat heard from the left
and right channels.
High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz
—1.0 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ): 1 — 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
MODULATION PROGRAMS
13. STEREO FLANGE A
14. STEREO FLANGE B
15.CHORUS
16. STEREO PHASING
17. TREMOLO
18. SYMPHONIC
18
Please note that STEREO PHASING does not have the F.B
GAIN parameter listed below, while TREMOLO and
SYMPHONIC have only the MOD FRQ and MOD DEPTH
parameters.
Modulation Frequency (MOD. FRQ): 0.05 Hz — 40 Hz
Sets the speed of modulation, and hence the rate at which the
effect varies.
Modulation Depth (1, 2) (MOD. DEPTH): 0% — 100%
Sets the amount of delay time variation, thus adjusting the
depth of the effect.
Modulation Delay (1, 2) (MOD. DLY): 0.1— 100
milliseconds
This sets the basic delay time from the initial direct sound to
the beginning of the flange effect.
Feedback Gain (F.B. GAIN): 0% — 99%
Determines the amount of flange signal which is fed back to
the input of the processor for further modulation. More
feedback increases the overall complexity, "strength" and
decay time of the effect.
Phase (PHASE): -180.0 deg — +180.0deg
(14. STEREO FLANGE B) Sets the phase between MOD.
DLY1 and 2.
Delay Time Modulation Depth (DM DEPTH): 0% —
100%
(15. CHORUS) Sets the amount of the width of the shaking
between L and R channel.
Amplitude Modulation Depth (AM DEPTH): 0% —
100%
(15. CHORUS) Sets the amount of the width of amplitude
variation.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
High-pass Filter Frequency (HPF FRQ): THRU, 32 Hz
– 1.0 kHz
Permits rolling off the low-frequency content of the reverb
signal above the set frequency. The HPF is OFF when set to
THRU.
Low-pass Filter Frequency (LPF FRQ): 1 – 16 kHz,
THRU
Permits rolling off the high-frequency content of the reverb
signal above the set frequency. The LPF is OFF when set to
THRU.
NOISE GATE
19. ADR-NOISE GATE
This program uses a “gate” to pass or shut off the input signal
in a number of ways. It can be used to pass just a short
segment of a longer input signal, or it can be set up to pass
only signals that exceed a specified level. In the latter case
this program functions as a “noise gate.” It is also possible to
create reverse gate type effects in which the gain increases
gradually after the effect is triggered.
PARAMETERS ACCESSED BY THE PARAM KEY
Trigger Level (TRG. LEVEL): 0 – 100%
Hold Time (HOLD): 1 – 24000 milliseconds
Determines how long the gate stays open, allowing the signal
to pass at the DECAY LEVEL, after the first decay and prior
to beginning of the RELEASE TIME.
Release Time (RELEASE): 3 – 24000 milliseconds
Determines how long it takes for the gate to close fully after
the HOLD TIME has ended.
Analog Trigger Level (A. TRG LVL): 0 – 100%
When an analog signal applied to the rear-panel TRIGGER 2
ANALOG jack is used to trigger the gate, this parameter
determines the level of the input signal required to trigger
“opening” of the gate. At 100% only very high-level input
signals will trigger the gate, while at 1% even the tiniest input
signal will trigger the gate. When this function is used the
TRG. LEVEL parameter should be set to the highest value
(100%) so that only signals applied to the TRIGGER 2
ANALOG jack will activate the gate.
MIDI Trigger (MIDI TRG.): OFF, ON
When this parameter is turned ON, a KEY ON EVENT
message from an external MIDI keyboard can be used to
trigger the gate. A KEY ON EVENT message is transmitted
whenever a note on a MIDI keyboard is played.
NOTE:
This effect can also be triggered by the front-panel
TRIGGER key or a footswitch plugged into the rear-panel
TRIGGER 1 SW jack.
Determines the level of the input signal required to trigger
“opening” of the gate. At 100% only very high-level input
signals will trigger the gate, while at 0% even the tiniest input
signal will trigger the gate.
Trigger Delay (TRG. DLY): -100 – +100 milliseconds
Produces a delay between the time at which the gate is
triggered and that at which it actually opens. If a minus value
is programmed, the input signal is delayed so that, effectively,
the gate opens before the signal appears.
Trigger Mask (TRG. MSK): 3 – 24000 milliseconds
This parameter makes it impossible to re-trigger the gate
function until the programmed time has elapsed.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Attack Time (ATTACK): 3 – 24000 milliseconds
Determines how long it takes for the gate to open fully from
the time it begins to open.
Decay Time (DECAY): 3 – 24000 milliseconds
Determines the length of time it takes for the gate envelope to
fall to DECAY LEVEL after it is fully open.
Decay Level (DECAY LVL): 0 – 100%
Determines the level at which the gate remains open for the
HOLD TIME. The lower the value, the lower the HOLD gate
level.
High-Pass Filter Frequency (HPF FRQ): THRU, 32 Hz
– 1.0 kHz
Low-Pass Filter Frequency (LPF FRQ): 1 – 16 kHz,
THRU
PITCH CHANGE TYPE PROGRAMS
20. PITCH CHANGE 1
2 1 . PITCH CHANGE 2
22. PITCH CHANGE 3
39. STEREO PITCH
19
PARAMETERS ACCESSED BY THE PARAM KEY
20. PITCH CHANGE 1
PITCH CHANGE 1 makes it possible to produce two
independently pitch-shifted output notes in addition to the
direct signal, so you can create three-part harmonies with a
single input note. Both pitch-shifted notes appear at the center
of the stereo sound field.
1st Pitch Shift (1 PITCH): -24 – +24
2nd Pitch Shift (2 PITCH): -24 – +24
Set the pitch of the first or second pitch-shifted note between
two octaves below (-24) and two octaves above (+24) the
input note.
1st Fine Tuning (1 FINE): -100 – +100
2nd Fine Tuning (2 FINE): -100 – +100
Permit fine tuning of the first or second pitch-shifted note in
l-cent steps.
1st Delay Time (1 DLY): 0.1 – 2300 milliseconds
2nd Delay Time (2 DLY): 0.1 – 2300 milliseconds
Determines the time delay between input of the original note
and output of the first or second pitch-shifted note.
Left Pitch Shift (L PITCH): -24 – +24
Right Pitch Shift (R PITCH): -24 – +24
Set the pitch of the left or right channel pitch-shifted note
between two octaves below (-24) and two octaves above (+24)
the input note.
Left Fine Tuning (L FINE): -100 – +100
Right Fine Tuning (R FINE): -100 – +100
Permit fine tuning of the left or right channel pitch-shifted
note in l-cent steps.
Left Delay Time (L DLY): 0.1 – 2300 milliseconds
Right Delay Time (R DLY): 0.1 – 2300 milliseconds
Determine the time delay between input of the original note
and output of the left or right channel pitch-shifted note.
Left Feedback Gain (L.F.B.): -99 – +99
Right Feedback Gain (R.F.B.): -99 – +99
When this parameter is set to 0, only a single pitch-shifted
sound is produced after the DELAY time has elapsed. As the
value of this parameter is increased, however, more and more
delayed repeats are produced, each pitch-shifted up or down
from the previous repeat according to the setting of the PITCH
parameter.
1st Feedback Gain (1 F.B.): -99 – +99
2nd Feedback Gain (2 F.B.): -99 – +99
When this parameter is set to 0, only a single pitch-shifted
sound is produced after the DELAY time has elapsed. As the
value of this parameter is increased, however, more and more
delayed repeats are produced, each pitch-shifted up or down
from the previous repeat according to the setting of the PITCH
parameter.
1st Level (1 LEVEL): 0 – 100%
2nd Level (2 LEVEL): 0 – 100%
These parameters determine the levels of the first and second
pitch-shifted notes.
22. PITCH CHANGE 3
PITCH CHANGE 3 offers the “thickest” and most complex
sound by allowing the creation of three pitch-shifted notes in
addition to the direct sound.
1st Pitch Shift (1 PITCH): -24 – +24
2nd Pitch Shift (2 PITCH): -24 – +24
3rd Pitch Shift (3 PITCH): -24 – +24
Set the pitch of the first, second or third pitch-shifted note
between two octaves below (-24) and two octaves above (+24)
the input note.
21. PITCH CHANGE 2
Like the PITCH CHANGE 1 program, PITCH CHANGE 2
produces 2 pitch-shifted notes in addition to the original input
note. In this program, however, the two pitch-shifted notes are
independently fed to the left and right channel outputs (the
direct sound is positioned at the center of the stereo sound
field) for a true stereo harmony effect.
20
1st Fine Tuning (1 FINE): -100 – +100
2nd Fine Tuning (2 FINE): -100 – +100
3rd Fine Tuning (3 FINE): -100 – +100
Permit fine tuning of the first, second or third pitch-shifted
note in l-cent steps.
1st Delay Time (1 DLY): 0.1 – 4600 milliseconds
2nd Delay Time (2 DLY): 0.1 – 4600 milliseconds
3rd Delay Time (3 DLY): 0.1 – 4600 milliseconds
Determines the time delay between input of the original note
and output of the first, second or third pitch-shifted note.
1st Level (I LEVEL): 0 – 100%
2nd Level (2 LEVEL): 0 – 100%
3rd Level (3 LEVEL): 0 – 100%
These parameters determine the levels of the first, second and
third pitch-shifted notes.
39. STEREO PITCH
The STEREO PITCH program produces a smooth pitch shift
effect rather than an abrupt shift from note to note. The
parameters affect both the left and right channels
simultaneously.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Base Key (BASE KEY): OFF, C1 – C6
This parameter sets the “BASE KEY” for an external MIDI
synthesizer used to control the PITCH parameter (the MIDI
OUT terminal of the synthesizer must be connected to the
SPX1000 MIDI IN terminal, and the SPX1000 must be set to
receive on the MIDI channel on which the synthesizer is
transmitting). If, for example, the BASE KEY parameter is set
to C4, pressing the C3 key on the synthesizer (C3 is one
octave lower than C4) will set the pitch change value to -12.
Pressing D4 on the keyboard would produce a pitch increase
of one whole-tone (+2). When two keys are pressed, the
highest note determines the pitch of the 1 PITCH or L PITCH
sound, and the lower note determines the pitch of the 2 PITCH
or R PITCH sound. With the STEREO PITCH program the
last note pressed takes priority. If a key more than two octaves
higher or lower than the BASE KEY is pressed, the resultant
pitch change setting will still be within the -24 to +24 range,
as shown in the illustration below. If the BASE KEY
parameter is set OFF, pitch cannot be controlled via the MIDI
IN terminal.
FREEZE PROGRAMS
Pitch Shift (PITCH): -24 – +24
Set the pitch of the pitch-shifted note between two octaves
below (-24) and two octaves above (+24) the input note.
Fine Tuning (PITCH FINE): -100 – +100
Permit fine tuning of the pitch-shifted note in l-cent steps.
Delay Time (DELAY): 0.1 – 2300 milliseconds
Determine the time delay between input of the original note
and output of the pitch-shifted note.
Feedback Gain (FB GAIN): -99 – +99
When this parameter is set to 0, only a single pitch-shifted
sound is produced after the DELAY time has elapsed. As the
value of this parameter is increased, however, more and more
delayed repeats are produced, each pitch-shifted up or down
from the previous repeat according to the setting of the PITCH
parameter.
23. FREEZE 1
24. FREEZE 2
40. STEREO FREEZE
The FREEZE programs allow sampling (digital recording) and
playback of sounds received at the SPX1000’s inputs. The
FREEZE 1 and FREEZE 2 programs permit sampling for a
maximum of 5.8 seconds, while the STEREO FREEZE
program allows sampling for a maximum of 2.9 seconds. The
FREEZE 1 and FREEZE 2 programs differ only in the
playback functions provided.
PARAMETERS ACCESSED BY THE PARAM KEY
23. FREEZE 1
The FREEZE 1 program allows single playback of the
sampled sound, with adjustable start and end points.
Record Mode (REC. MODE): MANUAL, AUTO
Determines how sampling is to be triggered. If MANUAL is
selected, sampling is initiated either by pressing the parameter
key, the TRIGGER key, or a footswitch connected to the
rear-panel TRIGGER 1 SW jack. If AUTO is selected,
sampling is automatically triggered by any input signal of
sufficient level.
21
Trigger Delay (TRG. DLY): -5800 – +1000
milliseconds
This parameter sets a delay between triggering and actual
initiation of the sampling process. If a negative value is
specified, input signals are temporarily stored and the sound is
sampled from the specified time before the trigger occurs.
Overdub Ready (OVERDUB):
RECORD (see above) is used to sample a new sound.
OVERDUB is used to record a new sound over a previously
recorded sound. Call the OVERDUB display and begin
overdubbing by using either the MANUAL or AUTO method
described above. The display changes to “
” while
overdubbing is in progress, and then to “OK” when
overdubbing is complete. OVERDUB can be repeated as many
times as necessary.
The initially recorded and overdubbed sound can now be
played back by pressing the TRIGGER key or a footswitch
connected to the rear-panel TRIGGER 1 SW jack. Playback
can also be triggered by an input signal of sufficient amplitude
if the INPUT TRG parameter is on or by a signal applied to
the rear-panel trigger 2 analog jack if the analog trg parameter
is on (see PARAMETERS ACCESSED BY THE INT
PARAM KEY). Pitched playback of the sampled sound is
possible by transmitting MIDI note ON messages to the
SPX1000’s MIDI IN connector from a MIDI keyboard or
other device (e.g. play a key on the keyboard).
Record Ready (RECORD):
The RECORD display must be called before sampling can
begin. With the RECORD display showing, press the
parameter key and display will change to RECORD
READY. Sampling can now be starting using either the
MANUAL or AUTO method described above. The display
changes to “- - - - - -” while sampling is in progress, and then
to “OK” when sampling is complete. Any previous data in the
freeze memory is erased when the RECORD function is
executed.
The sampled sound can now be played back by pressing the
TRIGGER key or a footswitch connected to the rear-panel
TRIGGER 1 SW jack. Playback can also be triggered by an
input signal of sufficient amplitude if the INPUT TRG
parameter is ON OR BY A SIGNAL APPLIED TO THE
REAR-PANEL TRIGGER 2 ANALOG JACK IF THE
ANALOG TRG PARAMETER IS ON (see PARAMETERS
ACCESSED BY THE INT PARAM KEY). Pitched playback
of the sampled sound is possible by transmitting MIDI note
ON messages to the SPX1000’s MIDI IN connector from a
MIDI keyboard or other device (e.g. play a key on the
keyboard).
22
Playback Start Point (START): 0 – 5800 milliseconds
Total sample time is 5800 milliseconds (5.8 seconds). This
parameter determines at what point playback will begin when
a trigger occurs.
Playback End Point (END): 0 – 5800 milliseconds
This parameter determines at what point playback will end. If
the END point is set to a time earlier than the START point
(above), the sampled sound will be played back in reverse.
Playback Pitch (PITCH): -24 – +24
Determines the pitch of the playback sound in semitone
increments. PITCH can be varied from two octaves below
(-24) to two octaves above (+24) the original pitch of the
sampled sound.
40. STEREO FREEZE
STEREO FREEZE has the same parameters as the FREEZE 1
program, but has shorter TRG. DLY, START and END
parameter ranges to allow independent sampling of left and
right channel signals.
Playback Pitch Fine Tuning (PITCH FINE): -100 –
+100
Permits fine tuning of the playback pitch in one-cent
increments (a cent is 1/100th of a semitone).
24. FREEZE 2
The FREEZE 2 program allows looped playback of the
sampled sound.
The REC. MODE, TRG. DLY, RECORD, OVERDUB,
START, END, PITCH and PITCH FINE parameters of the
FREEZE 2 program are exactly the same as those of the
FREEZE 1 program. Only the following parameters are
different.
Playback Loop Point (LOOP): 0 – 5800 milliseconds
As in the END parameter of FREEZE 1, this parameter sets
the end point of the sampled sound, but in the FREEZE 2
program playback is immediately resumed from the START
point as soon as the LOOP point is reached. The sampled
sound will therefore play continuously as long as the trigger is
held ON.
TRG. DLY: -2900 – +1000 milliseconds
START, END: 0 – 2900 milliseconds
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Please note that the FREEZE 2 program has only the BASE
KEY internal parameter.
Input Trigger (INPUT TRG): OFF, ON
Determines whether playback can be triggered by an input
signal of sufficient level.
Analog Trigger (ANALOG TRG): OFF, ON
Determines whether playback can be triggered by an analog
signal applied to the rear-panel TRIGGER 2 ANALOG jack.
Loop Fine Adjust (LOOP FINE): -200 – +200
This parameter allows fine adjustment of the LOOP end point,
making it possible to create the smoothest transition between
the LOOP and START points.
Trigger Mask (TRG. MSK): 3 – 30000 milliseconds
This parameter makes it impossible to re-trigger playback
function until the programmed time has elapsed.
Base Key (BASE KEY): OFF, C1 – C6
This parameter sets the “BASE KEY” for an external MIDI
synthesizer used to control pitched playback of the sampled
sound (the MIDI OUT terminal of the synthesizer must be
connected to the SPX1000 MIDI IN terminal, and the
SPX1000 must be set to receive on the MIDI channel on
which the synthesizer is transmitting). If, for example, the
BASE KEY parameter is set to C4, pressing the C3 key on the
synthesizer (C3 is one octave lower than C4) will cause the
sampled sound to play one octave lower than its normal pitch.
If a key more than two octaves higher or lower than the BASE
KEY is pressed, the resultant pitch change setting will still be
within the -24 to +24 range, as shown in the illustration
below. If the BASE KEY parameter is set OFF, pitch cannot
be controlled via the MIDI IN terminal.
PAN PROGRAMS
25. PAN
26. TRIGGERED PAN
There are two Pan Programs:
23
PARAMETERS ACCESSED BY THE PARAM KEY
Trigger Mask (TRG. MSK): 3 – 24000 milliseconds
This parameter makes it impossible to re-trigger the effect
until the programmed time has elapsed.
25. PAN
This is a very sophisticated pan program that allows creation
of “rotary” pan in addition to straightforward pan effects.
Attack Time (ATTACK): 3 – 24000 milliseconds
Determines how rapidly the panning effect begins.
Pan Type (TYPE): L
R-TURN
R, L
R, L
R, L-TURN,
Determines the direction in which the sound sweeps across the
stereo sound field. The L-TURN and R-TURN parameters
produce a pan which seems to rotate toward and away from
the listener in the specified direction.
Panning Time (PANNING): 3 – 24000 milliseconds
Determines how long it takes to complete the main portion of
the pan.
Release Time (RELEASE): 3 – 24000 milliseconds
Determines the speed of the end of the pan.
Pan Speed (PAN SPEED): 0.05 – 40 Hz
Sets the speed of the PAN effect (i.e. how rapidly the signal
sweeps from channel to channel).
Pan Direction (DIRECTION): L
R, L
R
Determines the direction in which the sound sweeps across the
stereo sound field.
Front/Rear Depth (F/R DEPTH): 0 – 100%
When the L-TURN or R-TURN pan type is selected, this
parameter sets the apparent depth of the sweep from front to
rear.
Left/Right Depth (L/R DEPTH): 0 – 100%
Sets the “depth” of the pan sweep from left to right and right
to left.
Left/Right Channel Balance (L/R BALANCE): 0 –
100%
Determines the maximum extent of the pan sweep. For
example, a setting of 100% produce a full pan from the
extreme left to right or vice versa, while a setting of 50% a
pan that is more restricted in its width across the stereo sound
field.
Analog Trigger Level (A. TRG LEVEL): 0 – 100%
When an analog signal applied to the rear-panel TRIGGER 2
ANALOG jack is used to trigger the pan effect, this parameter
determines the level of the input signal required to trigger the
effect. At 100% only very high-level input signals will trigger
the effect, while at 1% even the tiniest input signal will trigger
the effect. When this function is used the TRG. LEVEL
parameter should be set to the highest value (100%) so that
only signals applied to the TRIGGER 2 ANALOG jack will
activate the effect.
MIDI Trigger (MIDI TRG.): OFF, ON
26. TRIGGERED PAN
When triggered, this program automatically pans the sound
image between left and right or right and left in the stereo
sound field – with programmable attack, pan and release
rates.
Trigger Level (TRG. LEVEL): 1 – 100%
Determines the level of the input signal required to trigger the
panning effect. At 100% only very high-level input signals
will trigger the pan, while at 0% even the tiniest input signal
will trigger the pan.
Trigger Delay (TRG. DLY): -100 – +100 milliseconds
Produces a delay between the time at which the effect is
triggered and that at which it actually begins. If a minus value
is programmed, the input signal is delayed so that, effectively,
the effect begins before the signal appears.
24
When this parameter is turned ON, a KEY ON EVENT
message from an external MIDI keyboard can be used to
trigger the pan. A KEY ON EVENT message is transmitted
whenever a note on a MIDI keyboard is played.
NOTE:
This effect can also be triggered by the front-panel
TRIGGER key or a footswitch plugged into the rear-panel
TRIGGER 1 SW jack.
DISTORTION PROGRAM
27.DISTORTION
The distortion program is capable of producing an extremely
broad range of distortion sounds.
In all cases the first parameter display allows turning each
effect ON or OFF. Use the PARAM and SCROLL BACK keys
to move the underline cursor to the desired effect, then use the
parameter or
key to turn the effect ON of OFF:
PARAMETERS ACCESSED BY THE PARAM KEY
Distortion (DISTORTION): 0 – 100%
This parameter sets the “degree” of distortion produced. A
setting of 0 produces a perfectly clean sound, while a setting
of 100 produces the most heavily distorted sound.
Midrange EQ Frequency (MID FRQ.): 250 Hz – 5.6
kHz
Sets the mid-frequency range to be boosted or cut using the
next parameter: MID GAIN.
= OFF.
= ON. In this example display
COMPRESSOR (CO), CHORUS (CH) and REVERB (RV) are
ON, while DISTORTION (DI) is OFF.
Once the desired effects have been selected, use the PARAM
key to move on to the main parameters. Only parameters for
effects that are turned ON will appear.
Midrange EQ Gain (MID GAIN): - 12 – +12 dB
Boosts or cuts response in the frequency range set by the MID
FRQ parameter (above). A setting of 0 produces no boost or
cut. Minus settings (e.g: -6 dB) cut response in the selected
frequency range, while plus settings (e.g: +12 dB) boost
response.
Treble Boost/Cut (TREBLE): -12 – +12 dB
Permits boosting or cutting the high-frequency range. Minus
settings (e.g: -6 dB) reduce the high-frequency content of the
sound, while plus settings (e.g: +6 dB) emphasize the highfrequencies.
Distortion Delay (DELAY): 0.1 – 1000 milliseconds
Sets the delay between the direct sound and the beginning of
the distortion effect.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Trigger Level (TRG. LEVEL) : 0 – 100
The level of the input signal which allows the gate to open (or
applies a trigger, in other words) can be set. The larger the
value, the larger the input signal needed to open the gate. If
this is not specified, the gate will not open.
Release Time (RELEASE) : 3ms – 2400ms
Tis is the time between the point where the gate begins to
close and the point where it is fully closed. The larger the
value, the smoother the cut-off of the reverberation sound
becomes.
MULTI-EFFECT PROGRAMS
28. MULTI (CHO&REV)
29. MULTI (SYM+REV)
30. MULTI (EXC&REV)
The SPX1000 multi-effect programs combine compressor,
distortion, equalizer or dynamic filter (access via EQ key),
reverb and chorus or exciter effects. Refer to the effect
configuration diagram for each program to understand how the
various effects are “connected.”
PARAMETERS ACCESSED BY THE INT PARAM
KEY
All of the multi-effect programs have both COMPRESSOR
and DISTORTION: however, all parameters for these are
accessed through the INT PARAM key.
Compressor Attack (CO. ATTACK): Refer to COMPRESSOR
on page 29.
Compressor Release (CO. RELS): Refer to COMPRESSOR on
page 29.
Compressor Threshold (CO. THRSLD): Refer to
COMPRESSOR on page 29.
Compressor Ratio (CO. RATIO): Refer to COMPRESSOR on
page 29.
Distortion (DI.DIST): Refer to Distortion on page 25.
Distortion Mid Frequency (DI. MID F): Refer to
DISTORTION on page 25.
Distortion Mid Gain (DI. MID G): Refer to DISTORTION on
page 25.
Distortion Treble (DI. TREBLE): Refer to DISTORTION on
page 25.
Trigger Level (TRG. LEVEL) : Refer to COMPRESSOR on
page 29.
Release Time (Release) : Refer to COMPRESSOR on page
29.
PARAMETERS ACCESSED BY THE PARAM KEY
28. MULTI (CHO&REV)
25
Chorus Frequency (CH. FRG): 0.05 – 40 Hz
Chorus Delay Modulation Depth (DM DEPTH): 0% –
100%
This sets the amount by which the delay time of one delay
signal is varied in relation to the other, and thus the depth of
the CHORUS effect.
Chorus Amplitude Modulation Depth (AM DEPTH):
0% – 100%
Sets the amount by which the amplitude (level) of the input
signal is varied.
Reverb Time (RV. RT): Refer to REV 1 HALL on page 14.
High Frequency Reverb Time Ratio (RV. HIGH): Refer to
REV 1 HALL on page 14.
Reverb Initial Delay (RV. DLY): Refer to REV 1 HALL on
page 14.
Reverb Mix (RV. MIX): 0 – 100%
Determines the mix between the signal entering the reverb
processor and the reverb sound.
The COMPRESSOR, DISTORTION and REVERB parameters
for this program are the same as for MULTI (CHO&REV) and
MULTI (SYM+REV), described above. When the EXCITER
(EX) effect is turned ON, the following parameters also
appear:
EX. HPFF: Refer to EXCITER on page 30.
EX. ENHANCE: Refer to EXCITER on page 30.
EX. MIX LVL: Refer to EXCITER on page 30.
2-CHANNEL PROGRAMS
The 2-channel programs provide different effects for the left
(1) and right (2) channels. The input signals to the left (1) and
right (2) channels are processed separately. Internal
parameters provided for each of the 2-channel programs
determine whether the output is mixed and delivered in stereo
or each channel functions independently (i.e. mono output x
2).
31. PLATE + HALL
29. MULTI (SYM+REV)
PARAMETERS ACCESSED BY THE PARAM KEY
Symphonic Frequency (SY FRQ): Refer to SYMPHONIC on
page 18.
Symphonic Depth (SY DEPTH): Refer to SYMPHONIC on
page 18.
Plate Reverb Time (PLT RT): Refer to REV 4 PLATE on page
14.
Plate High Frequency Reverb Time Ratio (PLT HIGH): Refer
to REV 4 PLATE on page 14.
Reverb Time (RV. RT): Refer to REV 1 HALL on page 14.
Plate Diffusion (PLT DIF): Refer to REV 4 PLATE on page
14.
High Frequency Reverb Time Ratio (RV. HIGH): Refer to
REV 1 HALL on page 14.
Plate Initial Delay (PLT DLY): Refer to REV 4 PLATE on
page 14.
Reverb Initial Delay (RV. DLY): Refer to REV I HALL on
page 14.
Hall Reverb Time (HAL RT): Refer to REV 1 HALL on page
14.
Reverb Mix Level (RV MIX): Refer to MULTI (CHO & REV)
on page 26.
Hall High Frequency Reverb Time Ratio (HAL HIGH): Refer
to REV 1 HALL on page 14.
30. MULTI (EXC&REV)
Hall Diffusion (HAL DIF): Refer to REV 1 HALL on page 14.
Hall Initial Delay (HAL DLY): Refer to REV 1 HALL on
page 14.
26
PARAMETERS ACCESSED BY THE INT PARAM
KEY
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Stereo or Mono x 2 Output (OUT MODE): ST, MONO
x2
Stereo or Mono x 2 Output (OUT MODE): ST, MONO
x 2
When set to ST (stereo), the output of the left and rightchannel processors are mixed and the output signal is
delivered in stereo. When MONO x 2 is selected the left and
right-channel processors are completely independent.
When set to ST (stereo), the output of the left and rightchannel processors are mixed and the output signal is
delivered in stereo. When MONO x 2 is selected the left and
right-channel processors are completely independent.
Plate Low-pass Filter Frequency (PLT LPF): 1 – 16
kHz, THRU
Reverb Low-pass Filter Frequency (REV LPF): I- 16
kHz, THRU
Permits rolling off the high-frequency content of the PLATE
signal above the set frequency. The LPF is OFF when set to
THRU.
Permits rolling off the high-frequency content of the REV
signal above the set frequency. The LPF is OFF when set to
THRU.
Hall Low-pass Filter Frequency (HAL LPF): 1 – 16
kHz, THRU
33. ECHO + REV
Permits rolling off the high-frequency content of the HALL
signal above the set frequency. The LPF is OFF when set to
THRU.
32. ER + REV
PARAMETERS ACCESSED BY THE PARAM KEY
Echo Left Channel Delay (Lch DLY): Refer to STEREO
ECHO on page 17.
PARAMETERS ACCESSED BY THE PARAM KEY
Early Reflection Type (ER TYPE): Refer to EARLY REF. 1
on page16.
Early Reflection Room Size (ROOM SIZE): Refer to EARLY
REF. 1 on page 16.
Early Reflection Liveness (LIVENESS): Refer to EARLY
REF. 1 on page 16.
Early Reflection Diffusion (ER DIF): Refer to EARLY REF. 1
on page 16.
Early Reflection Initial Delay (ER DLY): Refer to EARLY
REF. 1 on page 16.
Rev Reverb Time (REV RT): Refer to REV 1 HALL on page
14.
Rev High Frequency Reverb Time Ratio (REV HIGH): Refer
to REV 1 HALL on page 14.
Echo Left Channel Feedback (Lch FB): Refer to STEREO
ECHO on page 18.
Echo Right Channel Delay (Rch DLY): Refer to STEREO
ECHO on page 18.
Echo Right Channel Feedback (Rch FB): Refer to STEREO
ECHO on page 18.
Echo High Frequency Feedback (ECHO HIGH): Refer to
STEREO ECHO on page 18.
Rev Reverb Time (REV RT): Refer to REV 1 HALL on page
14.
Rev High Frequency Reverb Time Ratio (REV HIGH): Refer
to REV 1 HALL on page 14.
Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14.
Rev Initial Delay (REV DLY): Refer to REV 1 HALL on page
14.
Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14.
Rev Initial Delay (REV DLY): Refer to REV 1
HALL on page 14.
27
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Stereo or Mono x 2 Output (OUT MODE): ST, MONO
x 2
When set to ST (stereo), the outputs of the left and rightchannel processors are mixed and the output signal is
delivered in stereo. When MONO x 2 is selected the left and
right-channel processors are completely independent.
right-channel processors are completely independent.
Reverb Low-pass Filter Frequency (REV LPF): 1 – 16
kHz, THRU
Permits rolling off the high-frequency content of the REV
signal above the set frequency. The LPF is OFF when set to
THRU.
35. PAN + PAN
Reverb Low-pass Filter Frequency (REV LPF): 1 – 16
kHz, THRU
Permits rolling off the high-frequency content of the REV
signal above the set frequency. The LPF is OFF when set to
THRU.
34. CHORUS + REV
PARAMETERS ACCESSED BY THE PARAM
KEY
1 Channel Pan Type (1 PAN TYP): Refer to PAN on page 24.
1 Channel Pan Speed (1 SPEED): Refer to PAN on page 24.
PARAMETERS ACCESSED BY THE PARAM KEY
Chorus Modulation Frequency (MOD FRQ.): Refer to
CHORUS on page 18.
Chorus Delay Modulation Depth (DM DEPTH): 0% –
100%
This sets the amount by which the delay time of one delay
signal is varied in relation to the other, and thus the depth of
the CHORUS effect.
1 Channel Pan Front/Rear Depth (1 F/R DPT): Refer to PAN
on page 24.
1 Channel Pan Left/Right Depth (1 L/R DPT): Refer to PAN
on page 24.
1 Channel Pan Initial Delay (1 DLY): Refer to PAN on page
24.
2 Channel Pan Type (2 PAN TYP): Refer to PAN on page 24.
Chorus Amplitude Modulation Depth (AM DEPTH):
0% – 100%
Sets the amount by which the amplitude (level) of the input
signal is varied.
Rev Reverb Time (REV TIME): Refer to REV 1 HALL on
page 14.
Rev High Frequency Reverb Time Ratio (REV HIGH): Refer
to REV 1 HALL on page 14.
2 Channel Pan Speed (2 SPEED): Refer to PAN on page 24.
2 Channel Pan Front/Rear Depth (2 F/R DPT): Refer to PAN
on page 24.
2 Channel Pan Left/Right Depth (2 L/R DPT): Refer to PAN
on page 24.
2 Channel Pan Initial Delay (2 DLY): Refer to PAN on page
24.
Rev Diffusion (REV DIF): Refer to REV 1 HALL on page 14.
1/2 Channel Pan Phase (PHASE): -180 – +180 degrees
Rev Initial Delay (REV DLY): Refer to REV 1 HALL on page
14.
PARAMETERS ACCESSED BY THE INT PARAM
KEY
Stereo or Mono x 2 Output (OUT MODE): ST, MO
x 2
When set to ST (stereo), the outputs of the left and rightchannel processors are mixed and the output signal is
delivered in stereo. When MONO x 2 is selected the left and
28
Determines the starting phase of the 2-channel pan (PAN 2) in
relation to the left-channel pan (PAN 1).
PARAMETERS ACCESSED BY THE INT PARAM
KEY
NOT AVAILABLE
Expansion Threshold (EXPAND THRS): -72 – -30 dB
Expansion Ratio (RATIO): 1–5
These parameters can be used to cut out low-level noise.
Expansion is applied to signal levels below the set expander
threshold.
COMPRESSOR & EXPANDER PROGRAMS
36. COMPRESSOR
This extremely versatile compressor program allows creation
of a wide range of compression and limiting effects. It can
simply be used to reduce the dynamic range of a signal, to
smooth out the sound of an electric bass or add sustain to an
electric guitar. It can help to reduce volume fluctuations as a
vocalist moves closer to or away from a microphone, or limit
the maximum level of a signal to prevent overloading certain
types of amplification of recording equipment. The
COMPRESSOR program is a stereo compressor in which the
higher signal level + left- or right-channel + is used for gain
control.
PARAMETERS ACCESSED BY THE PARAM KEY
Attack Time (ATTACK): 1 – 40 milliseconds
Determines how long it takes for full compression to be
reached after the effect is triggered (i.e. the THRESHOLD
level is exceeded). The right ATTACK setting is essential to
preserve the natural initial attack sound of the instrument used
— or modify it as desired.
Initial Delay Time (DELAY): 0.1 – 2300 milliseconds
Determines the time delay between the direct sound and the
compressed effect sound.
Detect Delay (DET. DLY): -50 – +50 milliseconds
This parameter sets an initial delay between the time the input
signal begins (the time the THRESHOLD level is exceeded)
and the time the compression effect begins. This delay can be
used to allow the initial attack of an instrument to come
through completely unaffected while the rest of the signal is
compressed. A minus DET DLY setting causes the
compressed sound to appear before the direct instrument
sound.
Release Time (RELEASE): 10 – 2,000 milliseconds
Determines how long it takes for compression to be released
after the input signal drops below the THRESHOLD level.
The RELEASE setting is important to preserve the natural
release sound of the instrument used. Too short a RELEASE
setting will cause the sound to be cut off unnaturally.
Threshold Level (THRESHOLD): -48 – -6 dB
Determines the level of the input signal at which the
compression effect begins. Set at a low level (-48 dB) all input
signals will be compressed. At a higher level, only those
signals exceeding the THRESHOLD level will be compressed,
thus producing a limiting effect. The THRESHOLD level
must be set to match the level and characteristics of the
instrument being used, as well as the desired effect.
Compression Ratio (RATIO): 1 – 20
This parameter sets the “amount” of compression applied to
the input signal. A setting of 1.0 produces no compression,
while a setting of 20 produces maximum compression.
PARAMETERS ACCESSED BY THE INT
PARAMETER KEY
Detector High Pass Filter Frequency (DET. HPF):
THRU, 500 Hz – 8 kHz
Allows compression to be applied to a specific range of
frequencies. Compression is only applied to frequencies
higher than the set DET. HPF frequency. Compression is
applied to all frequencies when this parameter is set to THRU.
29
37. LO LVL EXPANDER
The EXPANDER program allows efficient suppression of
low-level noise, contributing to a cleaner-sounding overall
signal. This i a stereo expander in which the highest signal
level – left- or right-channel - is used for gain control.
NOTE:
The EXPANDER program has no internal parameters.
STEREO PROGRAMS
39. STEREO PITCH
Described under “PITCH CHANGE PROGRAMS” on page
21.
40. STEREO FREEZE
Described under “FREEZE PROGRAMS” on page 23.
Expansion Threshold (THRESHOLD): -72 – -30 dB
Sets the expansion threshold. Expansion will be applied to all
signal levels below the set threshold.
Expansion Ratio (RATIO): 1 – 5
Determines the degree of expansion applied. A setting of 1
produces no expansion, while the maximum setting of 5
produces the greatest degree of expansion (i.e. greatest
attenuation of signals below the threshold).
Initial Delay Time (DELAY): 0.1 – 2300 milliseconds
Determines the time delay between the direct sound and the
beginning of expander operation.
EXCITER PROGRAM
38. EXCITER
This program artificially adds appropriate harmonics to the
input signal, adding luster and effectively bringing “buried”
sounds to the foreground.
HPF FRQ: 500Hz – 16kHz
Determines the range of high harmonics added to the input
sound. The smaller the value, the greater the range of high
harmonics applied.
ENHANCE: 0 – 100%
Sets the level of the harmonics added to the input sound. The
higher the value, the greater the exciter effect.
Exciter/Direct Sound Mix (MIX L VL): 0 – 100%
Sets the mixture or balance between the direct input sound and
the applied harmonics.
DELAY: 0.1 – 1000.0ms
30
5: UTILITY FUNCTIONS
The SPX1000 UTILITY key provides access to a number of
important functions. Each press on the UTILITY key advances
to the next function until the UTILITY mode is exited:
TITLE EDIT
INPUT MODE
A/D I/O MODE
DIGITAL IN ATT.
USER ER EDIT MEMORY
PROTECT MIDI CONTROL MIDI PGM CHANGE
MIDI CTRL ASSIGN
BULK OUT 1
BULK OUT 2
F.SW MEMORY RCL exit UTILITY mode.
It is also possible to scroll forward or backward through the
utility functions by using the program select and keys.
The UTILITY mode can be exited at any time by pressing and
holding the UTILITY key until its indicator goes out and the
UTILITY mode is exited.
TITLE EDIT
This function makes it possible to create original titles for
programs you edit and store in memory locations 41 through
99. The TITLE EDIT function is the first one to appear when
the UTILITY key is pressed. The "TITLE EDIT" function
name appears on the bottom line of the LCD, and an underline
cursor appears at the first character position on the top line.
The PARAM and SCROLL BACK keys are used to move the
cursor back and forth, while the parameter and keys are
used to select a new character for the current cursor position.
Simply move the cursor to each character position in turn,
selecting the appropriate characters at each position. The
available characters are as follows:
A/D I/O MODE
Described under DIGITAL I/O MODES" on page 15.
DIGITAL IN ATT.
This function makes it possible to vary the input level of the
digital input from 0dB to -60dB.
USER ER EDIT
This function makes it possible to create up to four original
ER (Early Reflection) patterns — A, B, C and D — that can
be selected and used by the EARLY REF. 3 effect program.
Each pattern is comprised of up to 19 separate reflections. The
delay, level a stereo position (pan) of each reflection can be
individually programmed.
1. Use the UTILITY key to call the USER ER EDIT function.
2. Use the parameter
and keys to select the pattern you
wish to edit: A, B, C or D.
3. Press the PARAM key to call the "# 1 DLY=" parameter,
and use the parameter and
keys to program the delay.
time for the first early reflection.
4. Press the PARAM key to call the "# 1 LVL=" parameter,
and use the parameter and keys to program the level
for the first early reflection.
5. Press the PARAM key to call the "# 1 PAN=" parameter,
and use the parameter and
keys to program the pan.
(stereo) position from -45 degrees (fully left) to +45
degrees (fully right) for the first early reflection.
6. Press the PARAM key to move on to the DLY, LVL and
PAN parameters for the second and subsequent reflections
(up to 19) and program each as above. The SCROLL
BACK key can be used at any time to scroll backwards
through the USER ER EDIT parameters.
NOTE:
If you attempt to use the TITLE EDIT function while a
ROM memory location (1—40) is selected, the "RAM
(41—99) ONLY" display will appear on the top line of the
LCD and title editing will not be possible.
INPUT MODE
Described under "INPUT MODES" on page 14.
31
MEMORY PROTECT
The MEMORY PROTECT function must be OFF prior to
performing a STORE operation. If you attempt to execute a
STORE while MEMORY PROTECT is ON, the
“PROTECTED” display will appear and the STORE operation
will be aborted.
1. Press the UTILITY key a few times until the MEMORY
PROTECT function appears.
2. MEMORY PROTECT can be turned ON by pressing the
parameter
key and off by pressing the parameter key.
Bank Selection and MIDI Channel Programming
1. Press the UTILITY key until the MIDI CONTROL function
appears.
2. The underline cursor should be under the BANK parameter.
Use the parameter and keys to select the bank you
wish to program.
3. Move the cursor to the “ch=” parameter by pressing the
PARAM key, then use the parameter and keys to set
the receive MIDI channel (1 + 16), the OMNI mode (all
channels can be received), or turn MIDI reception OFF for
the selected bank. The underline cursor can be moved back
to the BANK parameter if necessary by pressing the
SCROLL BACK key.
Assigning Effects to MIDI Program Change Numbers
MIDI CONTROL & MIDI PGM CHANGE
The SPX1000 makes it possible to select specific programs
via external MIDI control. You can set up the SPX1000 for
example, so that when you select a voice on a synthesizer the
most appropriate effect for that voice is automatically
selected. This is accomplished because each time you select a
voice on your MIDI synthesizer it transmits the corresponding
MIDI PROGRAM CHANGE NUMBER. The SPX1000
receives this PROGRAM CHANGE NUMBER and selects the
effect program that you have assigned to it using the MIDI
PROG CHANGE function which will be described below. The
SPX1000 also accepts MIDI KEY ON EVENT messages to
trigger some of the gate effects, and MIDI KEY ON
NUMBERS to set the PITCH parameter of the PITCH
CHANGE effects. The SPX1000 actually can be programmed
with four completely independent sets of MIDI PROGRAM
CHANGE NUMBER/MEMORY NUMBER assignments.
Each of these is contained in a different “bank”: A, B, C or D.
Each BANK may also be programmed to receive on a
different MIDI channel. An example of the way the four banks
may be programmed with different receive channels and
program number/memory number assignments is given below:
32
1. Select the MIDI PGM CHANGE function using the
UTILITY key or program select and keys. The
underline cursor should be under the PGM parameter.
2. Use the parameter and
keys to select the program
change number to which a new SPX1000 memory location
number is to be assigned. The range of available program
change numbers is from 1 to 128.
3. Move the underline cursor to the MEM parameter by
pressing the PARAM key. Use the parameter and keys
to select the memory location number containing the effect
which is to be assigned to the currently selected program
change number.
4. Move the underline cursor back to the PGM parameter and
repeat the above steps to assign as many program change
numbers as necessary.
NOTE:
The program number/memory number assignments made
are stored in the BANK selected in the previous MIDI
CONTROL function. To program the program change/
memory number assignments for a different BANK, return
to the MIDI CONTROL function, select the desired BANK,
then program the required assignments.
OFF
0
1 MOD WH
2 BREATH
3
4 FOOT C
5 PORT T
6 DATA E
7 VOLUME
8—63
64 SUST SW
65 PORT SW
66 SUST P
67 SOFT P
68 — 9 5
96—120
MIDI CTRL ASSIGN
This function makes it possible to use MIDI control change
message to control the parameters assigned to the EXT CTRL/
FOOT VOL 1 and 2 controllers (see “EXTERNAL
CONTROL ASSIGNMENT” on page 10 ).
1. Use the UTILITY key to call the MIDI CTRL ASSIGN
function.
2. The underline cursor should be under the ASS (Assign)
parameter. Use the parameter and keys to select either
ASS 1 for control of the parameter assigned to FVOL1, or
ASS2 for control of the parameter assigned to FVOL2.
3. Press the PARAM
key to move the cursor to the right
parameter and select the MIDI control change message you
will use to control the assigned parameter by using the
program select and keys.
No control change numbers accepted
Control change number 0
Modulation Wheel
Breath Controller
Control change number 3
Foot Controller
Portamento Time
Data Entry
Volume
Control change numbers 8 through 63
Sustain Switch
Portament Switch
Sustain Pedal
Soft Pedal
Control change number 68 through 95
(Switch)
Control change number 96 through 120
If, for example, you select 1 MOD WH, the assigned
parameter can be controlled from the modulation wheel of a
synthesizer connected to the SPX1000 MIDI IN connector
(assuming that the MIDI channels are properly matched). The
cursor can be moved back to the ASS parameter if necessary
by pressing the SCROLL BACK key.
BULK OUT 1 & BULK OUT 2
This function permits dumping program data and/or BANK
MIDI assignments via the MIDI OUT terminal (The MIDI
THRU/OUT terminal must be switched to MIDI). This permits
transferring data to a second SPX1000 or storing the data on
a MIDI data recorder. The SPX1000 automatically reloads
data received from a MIDI data recorder into the appropriate
memory locations. *
The BULK OUT 1 function permits dumping all SPX1000
memory data (ALL), independent memory locations (MEM),
and independent program change assignment banks (BANK).
The BULK OUT 2 function permits dumping user early
reflection patterns (USER.ER) or all system data (SYSTEM,
current system status).
1. Use the UTILITY key to select the BULK OUT 1 or BULK
OUT 2 function.
2. Use the PARAM and SCROLL BACK keys to select the
data group to be dumped (ALL, MEM, BANK, USER.ER
or SYSTEM).
3. If you selected ALL or SYSTEM, simply press the STORE
key to execute the bulk dump.
4. If you select MEM, BANK or USER.ER, use the parameter
and keys to select the desired memory location
number, bank or user reflection pattern, then press STORE
to execute the BULK DUMP operation. Selecting instead of a number will cause all the memories, all the
banks, or all the user reflection patterns to be transmitted.
33
F.SW MEMORY RCL RANGE 50 TO 60
* A bulk dump will only be received by the SPX1000 if its
MEMORY PROTECT function is OFF and the MIDI
channel is the same as that of the transmitting equipment.
Since bulk data from a second SPX1000, for example, is
loaded into the memory location(s) that it was transmitted
from, make sure that those locations do not cantain
important data that will be overwritten.
If, for example, the RANGE parameter is set to “50 TO 60” as
shown in the LCD illustration above, each time the footswitch
is pressed the next highest memory location will be selected
until the last number in the specified range is reached. After
the last number in the specified range, the first (lowest)
number is selected and the process repeated.
F.SW MEMORY RCL RANGE 44 TO 41
F.SW MEMORY RCL
Reverse sequences can be programmed by entering the highest
number in the range before the lowest, as shown below.
The SPX1000 permits memory selection via an optional
Yamaha FC5 footswitch connected to the “INC/DEC”
footswitch jack. The F.SW MEMORY RCL function permits
setting the range of memory location numbers that will be
selected when the footswitch is pressed.
1. Use the UTILITY key to call the F.SW MEMORY RCL
function. The underline cursor should be located under the
first memory number in the range.
2. Use the parameter
in the range.
and
keys to enter the first number
3. Press the PARAM key to move the cursor to the second
number in the range.
4. Use the parameter
in the range.
34
and
keys to enter the second number
In this case the selection sequence is: 44
44, etc.
43
42
41
6: DATA & SPECIFICATIONS
ROM CONTENTS AND CONTROLLABLE PARAMETERS
Add-1
Add-2
Add-3
Add-4
Add-5
Add-6
Add-7
Add-8
Add-9
Add-10
Add-11
Add-12
Add-13
Add-14
MIDI DATA FORMAT
1.Transmitting Conditions
2.Transmitting Data
2 . 1 System information
1 ) System Exclusive Messages
MEMORY BULK DATA
MIDI DATA FORMAT Transmission is enabled on the MIDI channel of the currently
selected bank. Data is transmitted when BULK OUT 1 is displayed and BULK OUT is
executed, and when the MEMORY BULK DUMP REQUEST message is received. The data to
be transmitted is the program of the memory number indicated. If the memory
number is " * " , data is sent from Memory 41 to Memory 9 9 in succession.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
DATA NAME
MEMORY
DATA
CHECK SUM
EOX
11110000(FOH)
01000011(43H)
n=0(channel numberl)~15 (channel numberl6)
OOOOnnnn(OnH)
01111110(7EH)
00000010(02H)
00001010(OAH)
01001100(4CH)"L"
01001101(4DH)"M"
00100000(20H)SPACE
00100000(20H)SPACE
00111000(38H)"8"
00110011(33H)"3"
00110111(37H)"7"
00111000(38H)"8"
01001101(4DH)"M"
M=l(MEMORY N o . 1 ) ~ 9 9 ( M E M O R Y N o . 9 9 )
Ommmmmmm
Oddddddd
256BYTE
Oddddddd
Oeeeeeee
Add-15
11110111(F7H)
Bank Program Change Chart Bulk Data
Transmission is enabled on the MIDI channel of the currently selected bank. Data
is transmitted when BULK OUT 1 is displayed and BULK OUT is executed, and when
the PROGRAM CHANGE CHART BULK DUMP REQUEST message is received. The data to be
transmitted is the program change chart (the chart showing the correspondence
between program numbers and memory numbers). If the bank number is " * " , the data
from banks 1 - 4 (A - D ) is transmitted in succession.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
DATA NAME
BANK No.
DATA
CHECK SUM
EOX
Add-16
11110000(FOH)
01000011(43H)
n=0(channel numberl)~15 (channel numberl6)
OOOOnnnn(OnH)
01111110(7EH)
00000001(01H)
00001010(OAH)
01001100(4CH)"L"
01001101(4DH)"M"
00100000(20H)SPACE
00100000(20H)SPACE
00111000(38H)"8"
00110011(33H)"3"
00110111(37H)"7"
00111000(38H)"8"
01010100(54H)"T"
Z=BANK 1~4(1=A, 2=B, 3=C, 4=D)
Ozzzzzzz
Oddddddd
128BYTE
Oddddddd
Oeeeeeee
11110111(F7H)
User ER Pattern Bulk Data
Transmission is enabled on the MIDI channel of the currently selected bank. Data
is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when
the USER ER PATTERN BULK DUMP REQUEST message is received. The data to be
transmitted is that of the indicated pattern number. If the pattern number is
" * " , patterns 1 - 4 ( A - D ) are transmitted in succession.
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
n=0 (Channel No. 1)~15 (Channel N o . 16)
01111110(7EH)
00000001(01H)
01101110(6EH)
01001100(4CH)"L"
01001101(4DH)"M"
00100000(20H)SPACE
00100000(20H)SPACE
00111000(38H)"8"
00110011(33H)"3"
00110111(37H)"7"
00111000(38H)"8"
DATA NAME
01000101(45H)"E"
ER PATTERN No. Ozzzzzzz
Z=ER PATTERN 1~4(1=A, 2=B, 3=C, 4=D)
DATA
0ddddddd
228BYTE
0ddddddd
CHECK SUM
Oeeeeeee
EOX
11110111(F7H)
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
Add-17
System Setup Bulk Data
Transmission is enabled on the MIDI channel of the currently selected bank. Data
is transmitted when BULK OUT 2 is displayed and BULK OUT is executed, and when
the SYSTEM SETUP DATA DUMP REQUEST message is received.
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
n=0(Channel NO.1)~15(Channel N o . 1 6 )
01111110(7EH)
00000000(00H)
00011100(1CH)
01001100 ( 4 C H ) " L "
01001101 ( 4 D H ) " M "
00100000 (20H)SPACE
00100000(20H)SPACE
00111000(38H)"8"
00110011(33H)"3"
00110111(37H)"7"
00111000(38H)"8"
DATA NAME
01010011(53H)"S"
00100000(20H)SPACE
SOFT VERSION No. Ovvvvvvv
SOFT VERSION No. Orrrrrrr
DATA
Oddddddd
16BYTE
Oddddddd
CHECK SUM
Oeeeeeee
EOX
11110111(F7H)
59 Memory/All Banks/All ER Patterns/System Setup Data/Bulk Data
Transmission is enabled on the MIDI channel of the currently selected bank. Data
is transmitted when BULK OUT 1 is displayed and ALL BULK OUT is executed. The
data to be transmitted is the programs of Memory Nos. 41 - 9 9 , all programs of
the 4 bank change charts, the four ER patterns, and the System Setup data. The
transmission order is as follows: programs of Memory Nos. 41 to 9 9 , Bank A
program change chart to Bank D program change chart, ER pattern A to ER pattern
D , and System Setup data.
Add-18
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
DATA NAME
MEMORY No.
DATA
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
01111110(7EH)
00000010(02H)
00001010(0AH)
01001100(4CH)"L"
01001101(4DH)"M"
00100000(20H)SPACE
00100000(20H)SPACE
00111000(38H)"8"
00110011(33H)"3"
00110111(37H)"7"
00111000(38H)"8"
01001101(4DH)"M"
0mmmmmmm
n=0(Channel No.1)~15(Channel N o . 1 6 )
M=41(Memory N o . 4 1 ) ~ 9 9 ( M e m o r y N o . 9 9 )
0ddddddd
256BYTE
CHECK SUM
EOX
0ddddddd
0eeeeeee
11110111(F7H)
STATUS
11110000(F0H)
EOX
11110111(F7H)
STATUS
11110000(F0H)
EOX
11110111(F7H)
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
11110000(F0H)
01000011(43H)
0000nnnn(0nH)
01111110(7EH)
00000001(01H)
00001010(0AH)
01001100(4CH)"L"
01001101(4DH)"M"
00100000(20H)SPACE
00100000(20H)SPACE
00111000(38H)"8"
00110011(33H)"3"
00110111(37H)"7"
00111000(38H)"8"
01010100(54H)"T"
0zzzzzzz
MEMORY 42
MEMORY 9 9
DATA NAME
BANK N o .
n=0(Channel No.1)~15(Channel N o . 1 6 )
Z=BANK1~4(1=A,2=B,3=C,4=D)
Continuous
Add-19
DATA
Oddddddd
CHECK SUM
EOX
Oddddddd
Oeeeeeee
11110111(F7H)
STATUS
11110000(FOH)
EOX
11110111(F7H)
STATUS
11110000(FOH)
EOX
11110111(F7H)
STATUS
11110000(FOH)
EOX
11110111(F7H)
128BYTE
BANK B
BANK C
BANK D
11110000(FOH)
0100001l(43H)
OOOOnnnn(OnH)
n=0(Channel No.1)~15(Channel N o . 1 6 )
01111110(7EH)
00000001(01H)
01101110(6EH)
01001100(4CH)"L"
01001101(4DH)"M"
00100000(20H)SPACE
00100000(20H)SPACE
00111000(38H)"8"
00110011(33H)"3"
00110111(37H)"7"
00111000(38H)"8"
DATA NAME
01000101 ( 4 5 H ) " E " ER PATTERN
Z=BANK1~4(1=A,2=B,3=C,4=D)
ER PATTERN N o . Ozzzzzzz
DATA
Oddddddd
228BYTE
Oddddddd
CHECK SUM
Oeeeeeee
11110111(F7H)
EOX
STATUS
ID No.
SUB STATUS
FORMAT NO.
BYTE COUNT
BYTE COUNT
STATUS
11110000(FOH)
EOX
11110111(F7H)
STATUS
11110000(FOH)
EOX
11110111 (F7H)
STATUS
11110000 ( F O H )
EOX
11110111 (F7H)
ER PATTERN B
ER PATTERN C
ER PATTERN D
Add-20
STATUS
ID No.
SUB STATUS
FORMAT No.
BYTE COUNT
BYTE COUNT
11110000
01000011
0000nnnn
01111110
00000000
00011100
01001100
01001101
00100000
00100000
00111000
00110011
00110111
00111000
DATA NAME
01010011
00100000
SOFT VERSION No. Ovvvvvvv
SOFT VERSION No. orrrrrrr
0ddddddd
(F0H)
(43H)
(0nH)
n=0(Channel No.1)~15(Channel N o . 1 6 )
(7EH)
(00H)
(1CH)
(4CH)"L"
(4DH)"M"
(20H)SPACE
(20H)SPACE
(38H)"8"
(33H)"3"
(37H)"7"
(38H)"8"
(53H)"S"
(20H)
16BYTE
CHECK SUM
EOX
Oddddddd
Oeeeeeee
11110111 (F7H)
Add-21
3.Receiving Conditions
MIDI T R G . ( B A S E KEY)
4 . Reception Data
4-1. Channel information
1 ) Channel voice messages
Note On
Reception is enabled on the MIDI channel of the currently selected bank. For
programs of Memory Nos. 1 - 5 , 1 9 , and 2 6 , if the parameter of MIDI TRG. is ON,
this is received as a trigger.
For programs of Memory Nos. 20 - 24, 3 9 , and 40, this is received as a message
to control pitch variation. The velocity value is ignored. Reception is not
possible when the Base Key parameter is OFF.
Add-22
STATUS
NOTE No.
VELOCITY
1001nnnn ( 9 n H )
0kkkkkkk
ovvvvvvv
n=0(Channel No.1)~15(Channel N o . 1 6 )
k=0(C-2)~127 ( G 8 )
v=0~127
Note Off
This message is used when playback of the Memory No. 24 FREEZE 2 is finished.
The velocity value is ignored. The reception conditions are the same as in
Note On.
STATUS
NOTE No.
VELOCITY
l000nnnn (8nH)
0kkkkkkk
ovvvvvvv
n=0(Channel No.1)~15(Channel N o . 1 6 )
k=0(C-2)~127(G8)
v=0~127
Control Change
Reception is enabled on the MIDI channel of the currently selected bank. When
receiving, parameters can be controlled. Change them by using the corresponding
controller based on the Control Assignment List.
STATUS
1011nnnn (BnH)
CONTROL N O .
0ccccccc
CONTROL VALUE 0vvvvvvv
n=0(CHANNEL NO.1)~15(CHANNEL N O . 1 6 )
c=0~120
v=0~127
Program Change
Reception is enabled on the MIDI channel of the currently selected bank. When
receiving, the desired program can be loaded, based on the program change chart
of that particular bank.
Add-23
STATUS
PROGRAM No.
1100nnnn (CnH)
0ppppppp
n=0(CHANNEL NO.1)~15(CHANNEL N 0 . 1 6 )
p=0~127
4-2. System Information
1 ) System exclusive messages
Memory Bulk Dump Request
Reception is enabled on the MIDI channel of the currently selected bank. When
this message is received, BULK OUT is executed for the program of the indicated
memory number.
STATUS
ID No.
SUB STATUS
FORMAT N o .
DATA NAME
MEMORY No.
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
00110011
00110111
00111000
01001101
0mmmmmmm
11110111
(F0H)
(43H)
(2nH)
n=0(Channel No.1)~15(Channel N o . 1 6 )
(7EH)
(4CH)"L"
(4DH)"M"
(20H)SPACE
(20H)SPACE
(38H)"8"
(33H)"3"
(37H)"7"
(38H)"8"
(4DH)"M"
M=41 (memory No. 4 1 ) ~ 9 9 (MEMORY No. 9 9 )
(F7H)
Program Change Chart Bulk Dump Request
Reception is enabled on the MIDI channel of the currently selected bank. When
this message is received, BULK OUT is executed for the program change chart (the
chart showing the correspondence between program numbers and memory numbers) of
the indicated bank.
Add-24
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
BANK No.
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
00110011
00110111
00111000
01010100
Ozzzzzzz
11110111
(F0H)
(43H)
(2nH)
n=0(Channel No.1)~15(Channel N o . 1 6 )
(7EH)
(4CH)"L"
(4DH)"M"
(20H)SPACE
(20H)SPACE
(38H)"8"
(33H)"3"
(37H)"7"
(38H)"8"
(54H)"T"
Z=BANK1~4(1=A,2=B,3=C,4=D)
(F7H)
User ER Pattern Bulk Dump Request
Reception is enabled on the MIDI channel of the currently selected bank. When
this message is received, BULK OUT is executed for the data of the indicated ER
pattern number.
STATUS
ID No.
SUB STATUS
FORMAT No.
11110000 (F0H)
01000011 ( 4 3 H )
0010nnnn (2nH)
n=0(Channel No.1)~15(Channel N o . 1 6 )
01111110 ( 7 E H )
01001100 ( 4 C H ) " L "
01001101 ( 4 D H ) " M "
00100000 (20H)SPACE
00100000 (20H)SPACE
00111000 ( 3 8 H ) " 8 "
00110011 ( 3 3 H ) " 3 "
00110111 ( 3 7 H ) " 7 "
00111000 ( 3 8 H ) " 8 "
DATA NAME
01000101 ( 4 5 H ) " E "
ER PATTERN No. 0zzzzzzz
Z=ER
PATTERN1~4(1=A,2=B,3=C,4=D)
EOX
11110111 ( F 7 H )
System Setup Data Bulk Dump Request
Reception is enabled on the MIDI channel of the currently selected bank. When
this message is received, BULK OUT is executed for System Setup data.
Add-25
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
00110011
00110111
00111000
01010011
00100000
11110111
(F0H)
(43H)
(2nH)
n=0(Channel No.1)~15(Channel N o . 1 6 )
(7EH)
(4CH)"L"
(4DH)"M"
(20H)SPACE
(20H)SPACE
(38H)"8"
(33H)"3"
(37H)"7"
(38H)"8"
(53H)"S"
(20H)
(F7H)
Bank Change Request
Reception is enabled on the MIDI channel of the currently selected bank. When
this message is received, the desired bank can be switched to.
STATUS
ID No.
SUB STATUS
FORMAT No.
DATA NAME
BANK N o .
EOX
11110000
01000011
0010nnnn
01111110
01001100
01001101
00100000
00100000
00111000
00110011
00110111
00111000
01010101
Ozzzzzzz
11110111
(F0H)
(43H)
(2nH)
n=0(Channel No.1)~15(Channel N o . 1 6 )
(7EH)
(4CH)"L"
(4DH)"M"
(20H)SPACE
(20H)SPACE
(38H)"8"
(33H)"3"
(37H)"7"
(38H)"8"
(55H)"U"
Z=BANK1~4(1=A,2=B,3=C, 4=D)
(F7H)
Memory Bulk Data
Same as "Memory Bulk Data" for transmission.
Add-26
Bank Program Change Chart Bulk Data
Same as "Bank Program Change Chart Bulk Data" for transmission.
User ER Pattern Bulk Data
Same as "User ER Pattern Bulk Data" for transmission.
System Setup Bulk Data
Same as "System Setup Bulk Data" for transmission.
When receiving from the MIDI Data Filer MDF1, a computer, or other sources, the
time interval between data exchanges (F7 ~ F0) with the other unit must be set
to 30msec or longer.
Add-27
YAMAHA
[ Professional Multi-Effect Processor ]
Date : 8/5, 1988
Model SPX1000 MIDI Implementation Chart Version : 1 . 0
Recognized
Transmitted
Remarks
Function . . .
Basic
Channel
Default
Changed
x
x
1 - 1 6 , off
1 - 1 6 , off
memorized
Default
Messages
Altered
x
x
OMNIoff/OMNIon
x
x
memorized
Mode
Note
Number : True voice
x
0 - 127
Velocity Note ON
Note OFF
x
x
x
x
After
Touch
x
x
x
x
x
x
x
0
Prog
Change : True #
x
o 0 - 127
*1
System Exclusive
0
0
Bulk Dump
System
x
x
x
X
X
X
System
:Clock
Real Time :Commands
x
x
X
X
Aux
x
x
x
x
X
X
0
X
Key's
Ch's
Pitch Bender
0 - 120
x
Control
Change
Common
Song Pos
Song Sel
Tune
:Local ON/OFF
:A11 Notes OFF
Mes- :Active Sense
sages:Reset
*2
Notes: *1 = For program 1 - 128, memory #1 - #99 is selected.
*2 = Active sensing is recognized only in " f r e e z e " .
Mode 1 : OMNI O N , POLY
Mode 3 : OMNI OFF, POLY
Add-28
Mode 2 : OMNI O N , MONO
Mode 4 : OMNI OFF, MONO
o : Yes
x : No
BLOCK DIAGRAM
Add-29
DIMENSIONS
Add-30
SPECIFICATIONS
ELECTRICAL CHARACTERRISTICS
FREQ. RESPONSE
DYNAMIC RANGE
DISTORTION
20Hz ~ 20kHz
90dB (TYPICAL)
0.03% (@1kHz)
INPUT
NUMBER OF CHANNEL
NOMINAL LEVEL
IMPEDANCE
LEVEL CONTROL
UNBALANCED x 2(PHONE JACK)
+4/-20dBm SWITCHABLE
50k (STEREO-IN), 25k (MONO)
ROTARY CONTINUOUS
A/D CONVERSION
NUMBER OF CHANNELS
SAMPLING FREQ.
QUANTIZATION
2 (AD CONVERTER x 1 )
44.1kHz (EXCEPT D-IN)
16bits
D/A CONVERSION
NUMBER OF CHANNELS
SAMPLING FREQ.
QUANTIZATION
2
44.1 kHz (EXCEPT D-IN)
16bits
OUTPUT
NUMBER OF CHANNEL
NOMINAL LEVEL
IMPEDANCE
UNBALANCED x 2(PHONE JACK)
+4/-20dBm SWITCHABLE
220
MEMORY
PRESETS (ROM)
USER MEMORY (RAM)
1 ~40
41~99
MIDI CONTROL
PROGRAM CHANGE (MEMORY SELECT)
NOTE ON (MIDI BASE KEY SELECT, TRIGGER)
CONTROL CHANGE
BULKDUMP & LOAD (PARAMERTER DUMP)
FRONT PANEL
CONTROLS
KEYS
DISPLAY
CONNECTORS
REAR PANEL
CONNECTORS
SWITCHS
GENERAL
POWER SUPPLY
DIMENSIONS (W x H x D)
INPUT LEVEL
PARAM. INC/DEC, PARAMETER, SCROLL BACK,
LEVEL EQ, INT. PARAM, EXT CTRL ASSIGN
STORE, MEMORY INC/DEC,
RECALL,
UTILITY, TRIGGER, BYPASS
16 CHARA. x 2 LINE LCD
2 DIGIT 7 SEGMENT LED (MEM#)
2 ch. 8 SEGMENT LED (LEVEL METER)
EXT CTRL/FOOT VOL JACK x 2
INPUT (PHONE JACK x 2)
OUTPUT (PHONE JACK x 2)
MIDI IN, THRU/OUT (DIN 5P x 2)
DIGITAL I/O (DIP 8P x 2)
TRIGGER1 SW (PHONE JACK)
TRIGGER2 SW (ANALOG) (PHONE JACK)
MEMORY INC/DEC (PHONE JACK)
BYPASS (PHONE JACK)
INPUT LEVEL SW, OUTPUT LEVEL SW
MIDI THRU/OUT SW
TRIGGER2 (ANALOG) LEVEL SW
US & CANADA: 120V, 60Hz, 22W
GENERAL: 220-240V, 50/60Hz, 22W
480 x 45.2 x 319 (mm)
• (0db=0.775V.r.m.s.
• Specifications and appearance subject to change without notice.
Add-31
Add-32
Add-33
DIO Mode
Analog
Pre
Post
Digital
Add-34
Input Mode
Stereo Normal
Stereo Reverse
Mono L
Mono R
Add-35
Effect Mode
Single No.1~27
Multi No.28~30
2ch ln No.31~35
Stereo No.36~40
Add-36
USER PROGRAMMING TABLE
Date:
Programmer:
Memory
No.
Program Title
Memory
No.
Program Title
Memory
No.
1
REV 1 HALL
34
CHORUS + REV
67
2
REV 2 ROOM
35
PAN + PAN
68
3
REV3 VOCAL
36
COMPRESSOR
69
4
REV 4 PLATE
37
LO LVL EXPANDER
70
5
REV 5 ECHO ROOM
38
EXCITER
71
6
EARLY REF. 1
39
STEREO PITCH
72
7
EARLY REF. 2
40
STEREO FREEZE
73
8
EARLY REF. 3
41
74
9
GATE REVERB
42
75
10
REVERSE GATE
43
76
11
DELAY L, C, R
44
77
12
STEREO ECHO
45
78
13
STEREO FLANGE A
46
79
14
STEREO FLANGE B
47
80
15
CHORUS
48
81
16
STEREO PHASING
49
82
17
TREMOLO
50
83
18
SYMPHONIC
51
84
19
ADR-NOISE GATE
52
85
20
PITCH CHANGE-1
53
86
21
PITCH CHANGE-2
54
87
22
PITCH CHANGE-3
55
88
23
FREEZE 1
56
89
24
FREEZE 2
57
90
25
PAN
58
91
26
TRIGGERED PAN
59
92
27
DISTORTION
60
93
28
MULTI (CHO & REV)
61
94
29
MULTI (SYM + REV)
62
95
30
MULTI (EXC & REV)
63
96
31
PLATE + HALL
64
97
32
ER + REV
65
98
33
ECHO + REV
66
99
Program Title
Add-37
Add-38
MIDI PROGRAM CHANGE NUMBER VS MEMORY (PROGRAM) NUMBER
BANK:
Date:
ch=
Programmer:
PGM
1
MEM
PGM
44
MEM
PGM
87
MEM
PGM
2
MEM
PGM
45
MEM
PGM
88
MEM
PGM
3
MEM
PGM
46
MEM
PGM
89
MEM
PGM
4
MEM
PGM
47
MEM
PGM
90
MEM
PGM
5
MEM
PGM
48
MEM
PGM
91
MEM
PGM
6
MEM
PGM
49
MEM
PGM
92
MEM
PGM
7
MEM
PGM
50
MEM
PGM
93
MEM
PGM
8
MEM
PGM
51
MEM
PGM
94
MEM
52
MEM
PGM
95
MEM
PGM
9
MEM
PGM
PGM
10
MEM
PGM
53
MEM
PGM
96
MEM
PGM
11
MEM
PGM
54
MEM
PGM
97
MEM
PGM
12
MEM
PGM
55
MEM
PGM
98
MEM
PGM
13
MEM
PGM
56
MEM
PGM
99
MEM
PGM
14
MEM
PGM
57
MEM
PGM
100
MEM
PGM
15
MEM
PGM
58
MEM
PGM
101
MEM
PGM
16
MEM
PGM
59
MEM
PGM
102
MEM
PGM
17
MEM
PGM
60
MEM
PGM
103
MEM
PGM
18
MEM
PGM
61
MEM
PGM
104
MEM
PGM
19
MEM
PGM
62
MEM
PGM
105
MEM
PGM
20
MEM
PGM
63
MEM
PGM
106
MEM
PGM
21
MEM
PGM
64
MEM
PGM
107
MEM
PGM
65
MEM
PGM
108
MEM
PGM
22
MEM
PGM
23
MEM
PGM
66
MEM
PGM
109
MEM
PGM
24
MEM
PGM
67
MEM
PGM
110
MEM
PGM
25
MEM
PGM
68
MEM
PGM
111
MEM
PGM
26
MEM
PGM
69
MEM
PGM
112
MEM
PGM
27
MEM
PGM
70
MEM
PGM
113
MEM
PGM
28
MEM
PGM
71
MEM
PGM
114
MEM
PGM
29
MEM
PGM
72
MEM
PGM
115
MEM
PGM
30
MEM
PGM
73
MEM
PGM
116
MEM
117
MEM
PGM
74
MEM
PGM
MEM
PGM
75
MEM
PGM
118
MEM
MEM
PGM
76
MEM
PGM
119
MEM
34
MEM
PGM
77
MEM
PGM
120
MEM
35
MEM
PGM
78
MEM
PGM
121
MEM
36
MEM
PGM
79
MEM
PGM
122
MEM
37
MEM
PGM
80
MEM
PGM
123
MEM
PGM
81
MEM
PGM
124
MEM
PGM
82
MEM
PGM
125
MEM
PGM
83
MEM
PGM
126
MEM
PGM
84
MEM
PGM
127
MEM
85
MEM
PGM
128
MEM
86
MEM
PGM
31
MEM
PGM
32
PGM
33
PGM
PGM
PGM
PGM
PGM
38
MEM
PGM
39
MEM
PGM
40
MEM
PGM
41
MEM
PGM
42
MEM
PGM
PGM
43
MEM
PGM
Add-39
YAMAHA
88 12 0.75 CR Printed in Japan
YAMAHA CORPORATION
P.O.Box 1, Hamamatsu, Japan
YAMAHA
Yamaha Corporation of America
6600 Orangethorpe Avenue, P.O. Box 6600, Buena Park, CA 90622-6600
1/24/97
24955